Does form play a part in packaging: The necessity

to sculpt Fragrance

By

Maxwell Oldham
 School of art and design and the built environment

Does Form play a part in packaging: the necessity to

sculpt fragrance.

By Maxwell Oldham

Dissertation
Submitted in partial fulfilment of the requirements for the award of

BA (Hons) Product design

Of Nottingham Trent University

08/02/16

Maxwell Oldham 2016

 Form does not follow function, form follows emotion
(Luigi Colani 2007)

MAXWELL OLDHAM/ N0436759 / BA (HONS) PRODUCT DESIGN / NOTTINGHAM TRENT UNIVERSITY/

SCHOOL OF ART & DESIGN AND THE BUILT ENVIROMENT / DISSERTATION / FEBRUARY 2016
Nottingham Trent University

SCHOOL OF ARCHITECTURE, DESIGN AND BUILT ENVIRONMENT

Disclaimer

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STUDENTS NAME: .

This submission is the result of my own work. All help and advice (other than
that received from tutors) has been acknowledged, and primary and secondary
sources of information have been properly attributed. Should this statement
prove to be untrue, I recognise the right and duty of the Board of Examiners to
recommend what action should be taken in line with the Academic Boards
Policy and Procedures governing Student Assessment.

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 i

Summary
This dissertation examines the effect form has on a product and therefor the consumer. It examines
how the form of a fragrance bottle influences the consumer into either liking or not liking the
product as a whole. It is thought that the reason a fragrance is brought it because of the
attractiveness of the scent. It can how ever be argued that the from and design of the bottle is also
and influencing factor on the consumers decision to buy the fragrance or not. This dissertation is
therefor devoted to the examination of the hypothesis that the form of the bottle means more to
the user than the scent of the fragrance.

The Dissertation begins by detailing the form vs function argument and further defining form.
Sculptural design is examined, to create a better understanding of form and its relevance. This is
before the scope of the dissertation focuses to form vs function based around fragrances.

The area of interest is narrowed down to consider the effect of form over function in fragrances
because the hypothesis that the bottle sells the scent goes against what is considered as the norm. If
form where to follow function it the scent of a fragrance would be considered the more important
aspect. It is argued that the form of the bottle is designed around the scent. To combat this
argument, the design process behind a fragrance is detailed through examination of Jean Paul
Gaultiers Classique fragrance and an interview with an experienced designer. It is apparent that with
in the design process the form is considered before the scent comes into it. Primary research is also
conducted to see how certain scents and forms are perceived by a larger sample. The results help
reinforce the hypothesis of this thesis.

It is concluded that the influence the bottle has on the consumer is not only bigger than originally
thought but out weights the influence the scent has on the consumer. It is shown through primary
research that consumers are dictated by the bottles design. If the consumer likes how the bottle
looks then they are more likely to like the fragrance inside it. We are controlled by the fragrances
form into believing in the fragrances function, its scent. Form is a much more important aspect in
fragrance design.

The usefulness this thesis therefor lies in demonstrating the that form can be used to control the
consumer and showing that the most popular fragrances on the market design with that in mind.
Without an attractive bottle to house the fragrance, it would not sell as well as one that does, no
matter how good the scent of the fragrance was.
 ii

Acknowledgments
Emma Tristram
For allowing me time to interview and using her words as part of my primary research

Alan Crisp
For giving me advice and direction throughout the undertaking of the dissertation.

Participants of the questionnaire and experiment

For allowing me their time to include them in my primary research as part of a sample.

Boots retail fragrance sales people

For allowing me time during their work day to obtain a sample from a professional source
within my questionnaire and for giving me enough fragrance samples to conduct my
primary research
 iii

Contents
Summary.. i

Acknowledgements.. ii

Tables of contents. iii

List of tables and figures.. v

Chapter One: Introduction

1.1 Aims and objectives..1
1.2 Context..2
1.3 Unpacking of the title..2
1.4 Specific research techniques..2
1.5 The layout of the dissertation3

Chapter Two: Literature Review

2.1 Introduction4
2.2 Form vs Function: What is Form? ..4
2.3 Sculptural Design.6
2.4 Packaging Design.8
2.5 Fragrance Bottle Design.9
2.6 Jean Paul Gaultiers Classique..11
2.7 Conclusion.12

Chapter Three: Methodology

3.1 Introduction.13
3.2 Method13
3.3 Hypothesis14
3.4 Sample and Surveying..14
3.5 Purpose..15

Chapter Four: Survey Results and Analysis

1.1 Variables and overview..16
1.2 Results...17
1.3 Analysis..22
1.4 Conclusion..24

Chapter Five: Interview Results and Analysis

1.1 Variables and overview..25
1.2 Results and analysis..25
1.3 Conclusion.. 26

Chapter Six: Conclusions and Recommendations

6.1 Conclusions....27
6.2 Limitations of the study....28
6.3 Recommendations....29
 iv

References...30

Appendices
Appendix 1 Scent Questionnaire results (Consumer) .32
Appendix 2 Scent Questionnaire Results (Professional) 33
Appendix 3 Scent Experiment Samples.34
Appendix 4 Scent Experiment Results35
Appendix 5 Scent Experiment Images36
Appendix 6 Interview Consent form37
Appendix 7 Interview write up38
Appendix 8 Ethical checklist..39
 v

List of tables and figures

Figures

Figure 1 Phillipe Starcks Juicy Salif Lemon Squeezer, found in Chapter two

Figure 2 Joris Laarmans Bone Chair, found in Chapter two

Figure 3 The Ty Nant ripple effect bottle by Ross Love Grove, found in Chapter two

Figure 4 Jean Paul Gaultiers Classique fragrance bottle, found in Chapter two

Figure 5 A graph showing the results of the scent questionnaire, found in Chapter three

Figure 6 A graph showing a comparison between participants from the scent

questionnaire, found in Chapter three

Figure 7 A Graph showing the results of the scent experiment, found in chapter three

Tables

Table 1 A table showing the final tally of responses from the scent experiment, found in
Chapter three

Table 2 A table showing the final tally of responses from the scent experiment, found in
Chapter three

Table 3 A table showing the amount of participants who discovered the same scent in the
scent experiment, found in Chapter three

All online images can be sourced in the references section

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Chapter One
Introduction

1.1 Aims and objectives.

This dissertation will aim to prove that consumers are influenced into liking a fragrance by the design
of the bottle rather than the scent.

This dissertation will work towards three aims. The first of the aims, which is the main point of this
dissertation will be to discuss one of the oldest design arguments. This is, whats important to a
product its form or its function. This subject has a strong amount of research behind it already.
Building on work achieved by designers such as Phillipe Starck, the aim is to de-myth form follows
function and give form more of a definition.

The second aim which leads on from my research and discussion from the previous aim, is to
research and discuss the sculpture of the packaging. This dissertation looks at products, in which the
users are influenced by the packaging into buying product. Additionally, this aim determines how
much of a part the packaging plays in the overall design process of the product. Research on the
subject area of sculpture, including sculptural designer Isamu Noguchi is examined to create a
greater understanding and achieve this aim.

Following from the sculptural design of packaging the dissertation analysiss its biggest aim. This is to
find out how much the sculptural like form of fragrance plays in selling the product. Almost every
fragrance bottle is more recognisable than its scent of the. Are you buying into the product or its
packaging? This aim is where the majority of the dissertations primary research will lie. Research
into the design process of the most popular fragrances on the market and how much users are
influenced by them will be achieved through case studys, questionnaires and interviews.
 2

1.2 Context
An interest in function vs form is the biggest inspiration for this dissertation. It has always been a
part of design which has been a struggle to take a side. It is an argument that is questioned in every
project design process. Through applying it to a very specific subject, an extent of knowledge on the
area creates a better understanding.

The reason this dissertation ties together through the discussion of fragrance bottles is because it is
one of the most common examples of a product that can be considered successful through its form
rather than its function.

1.3 Unpacking of the title

The title chosen for this dissertation is, does form play a part in packaging: The necessity to sculpt
fragrance.

When choosing this title, the wording was ordered and chosen carefully. The word form appears
before the word sculpt in the title so it follows the structure of the dissertation. Branching out from
my discussion about form into my discussion about sculptured packaging. The split in the title
represents the part of the dissertation from where form follows function, is applied to fragrance
bottle design. The word necessity is used to highlight the trend of selling fragrance through the form
and shape of the bottle, that is currently adopted by most of the biggest brands on the market.

1.4 Specific research

To gather relevant information on the topic of this dissertation to contrast and discuss, two forms of
research have been undertaken. These are secondary and primary.

The secondary research is text based. It is existing work on the topic from online and articles,
journals and books. This work has been used to build arguments and contrast points to critically
analysis and create a better understanding. Current work that co-insides with the topic of the
dissertation create the main points of secondary research. This includes exploration of form,
sculptural design and packing design. These topics are related to the main topic of the dissertation
which is fragrance bottle design.

The primary research consists of three different techniques. This dissertation uses surveys,
experiments and interviews to gain first hand knowledge on the subject at hand. The data from said
 3

primary research techniques has been used to contrast and compare any points and hypothesis
made with in the secondary research. The data gained from responses is displayed in infographics to
help analysis any further points.

1.5 Structure of the dissertation

To first argue the that the form of fragrance bottles is more important than the function,
understanding form follows function and what is defined as form is vital. This is why the start of the
dissertation opens with the discussion, form vs function. This is the area in which the dissertation
will try and define the form and de-myth form follows function.

After the discussion on form follows function to help define form and how it can be applied to
products, sculptural design as a topic is explored. The dissertation builds on the work of Isamu
Noguchi and looks at current products that contain sculptural aspects to their design.

Sculptural design and form research is then applied to packaging design and how its used to sell the
product. This includes examples of popular products on the market leading to the main point of the
Dissertation, fragrance design.

Finally the form and function of fragrance bottles are explored and related back to the information
previously analysed. It is discussed as to how it effects the consumer, how it connects to a
consumers emotions. Studies into popular fragrances on the market are examined and the process
which designers go through when releasing a fragrance.
 4

Chapter Two
Literature Review

2.1 Introduction
This section of the dissertation reviews and critically analysing current work on the subject of form.
The main argument point is that form is more essential to certain products than function. As well as
analysing the form vs function argument, specific products where form and function can both be
argued as more important than the other are examined. Using work done by Isamu Noguchi, a well
known Japanese sculpturer, a better an understanding of designing around form is displayed. The
analysis of form vs function is focused into packaging design, leading to the main point of the
dissertation, fragrance bottle design.

Packaging design, specifically fragrance bottles is the main discussion point. Products such as water
bottles are examined and argued that the packaging has been formed to be more important than
the product. The main point of the dissertation, that the scent of a fragrance is not as relevant than
the form of the bottle, is discussed at length. As well as referring back to the form vs function
argument, work done by Jean Paul Gaultier and the Classique fragrance range is used to build on
points made.

2.2 Form vs function: What is Form?

Form follows function is a frequently used phrase with in the design industry. It was a phrase first
coined by architect Louis Sullivan. He wanted to make the point that an architects style and form is
largely influenced by the functional purpose of the project, meaning form is determined by function.
Although its a point based on sense, there are obvious flaws in the phrase. It is proven across a
range of products, that the form is what drives them, showing that our attraction to the product is
not function based.
 5

Figure 1 The Guardian 2007 [04/02/16]

A good example of this is Philippe Starcks Juicy Salif Lemon squeezer, shown in figure 1. Its
functionality is known to be poor, however it is ranked amongst the greatest modern day designs,
with a permanent display in the museum of modern art. This is a product thats great success is
attributed to its form. Phillip Starck is rumoured to have said Its not meant to squeeze lemons; it is
meant to start conversations. (Watson-Smyth 2010) This shows that the thought process behind the
designing of the product had little to do with its function. Although it could be said that that lack of
function makes the product uselesss, it is a successful design that is driven only by its form. It
doesnt fit into form follows function.

In the book Form function and design by Paul Jacques Grillo It discusses the role and necessity of
form in design as well as function. It says Design is poetry as it associates forms into new meanings
(Grillio 1975 P.33). This is a very strong point in favour of form. It says form is a necessary to
communicate a products meaning. Although it is could be said that if a product doesnt function its
useless, its the beauty of the form that makes the product. Attracting the user to the product is a
big factor when considering success. Just like poetry without the beauty of its form to draw the user
in, its poor design.

Another point that Paul Jacques Grillo makes is that it is impossible for form to follow function. In his
words True functional design has very little to do with what we call progress. (Grillo 1975, P.26) By
this he argues that in a world where the most basic of design has solved most functional problems
the only way we can develop is through form.
 6

The handles of tools designed by stone age people show a better understanding than what we buy
in stores today. The subtle changes in the form of containers used by the family of a man show the
direct functional reason for what we have come to think of a matter of style. (Grillo 1975, P.26)
Although you could say that with the advancing technology we had today that there will never truly
be a time with no functional problems, it still makes a very good point. If there is a product already
made to complete a certain function, by developing a product that does the same are you not just
developing its form? For example, is a breakfast bowl not just a development of form from clay pots
that where used during the start of humankind. Does this mean we live in an age where a products
function is to look better.

Although of form vs function in design is quite often though to be form following function, the form
of a product is just as important to a design, if not more than. The scientist Viktor Frankl once said
people have enough to live but nothing to live for; they have the means but no meaning. (Bohl
2012) This sums up everything that has been mentioned so far, particularly the last point. We as
consumers are constantly searching for meaning. Although we may already have a functional
solution, what we really want is something that means something to us, something we remember.
This is better achieved by the form side of design.

2.3 Sculptural design

One of the biggest design areas where form matters is sculptural design. Sculptural design is an
artistic way of communicating through forms. This process is often applied to products, out
weighting their function. Sculptural design is the process of forming.
 7

Figure 2 Fabbaloo 2014 [04/02/16]

A good example of when sculptural design is used in a products process, is the bone chair by Joris
Laarman, shown in figure 2. He took inspiration from the form of nature to sculpt a chair. Although
the chair itself does not look very comfortable, the sculpting process that was used to make it has
made its form beautiful. It could be argued that although the chair looks beautiful consumers would
prefer comfort. How ever the sculptural aspect of this chair could out way the need for a comfort.
The form of the product is what gives it meaning. When using the digital tool to create the chair
Laarman said We didnt use it to create the perfect chair, we used it as a high tech sculpting tool to
create elegant shapes. (Crest 2013) This shows recognition, that Laarman never intended to make
the chair functional, but wanted to sculpt something that would sell through its elegance and
beauty.

A huge influence in the area of sculptural design is Isamu Noguchi. He said I am always looking for a
new way of saying the same thing. (Wilson 2002 P53) It is his belief that there isnt anything that
cant be communicated through sculpted form. If this is true, then does that mean there is no need
to build function into a product? Again this could be argued that there are many problems that
functional designs solve every day. It was functional thinking that made a hammer work not simply
sculpting a form. How ever it could then be said that with no one to design the shape and form of
the hammer, its true purpose of being able to hit a nail, wouldnt be communicated.
 8

Sculptural Designs biggest influence is form and shape. Isamu Noguchi believed form is the best way
of reaching people. This is an attitude that this is often used when creating products. It is evident in
Phillipe Starcks work that form is more important than function. Could the same be said for
fragrance bottles.

2.4 Packaging design

The packaging of a product is very important, especially when selling the product. The packaging is
the first thing the consumer sees, so its important that its attractive and reflects the product. This is
why form can play a bigger part than function in packaging and can even sometimes be the reason
the product is sold. It could be said that the packaging makes no difference to the product and that
the reason people buy a product, is not because of the influence of the packaging but because of the
product itself. How ever more products are appearing on the market where the packaging actually
forms around the product to attract the user. This is true amongst water bottles, whiskey bottles,
fragrance bottles and even watch boxes.

Figure 3 Amazon 2016 [04/02/16]

A very good example of formed packaging design that sells the product is they Ty Nant ripple effect
bottle by Ross Love Grove, shown in figure 3. It is a bottle that takes the organic shape of a twist of
water. The product in essence, is just water. Its the packaging around the water, the sculpted design
 9

of the bottle that influences the consumer to buy it. Grove is a huge believer in response through
form. In a recent interview Grove mentioned form can touch peoples soul and emotion. (Grove
2006) followed by we should be developing packaging for ideas which elevate peoples
perceptions. (Grove 2006) It can easily be argued that there are products on the market that sell
through functionality. Groves organic designs, like the Ty Nant water bottle are proof that
stimulating the user through the form of the packaging can sell the product, instead of its
functionality.

2.5 Fragrance Bottle Design

The biggest discussion point of this dissertation is packaging design, specifically fragrance bottles.
The form of fragrance has more to do with the users reaction than its functionality. It can be argued
that the user buys into the sculptural form of the bottle rather than the scent.

In Emotional Design by Donald A. Norman it discusses an experiment done by the Chinese, proving
reaction to form. They set up two different ATM machines made identical in function, the number of
buttons and how they operated. How ever one of them had a more attractive layout. The one with
the more attractive layout was perceived to be easier to use. The experiment was then repeated by
in Israel by a scientist called Noam Tractinsky. The results where expected not to correlate because
the Israelis are more action orientated. How ever the results where the same. (Norman 2004). The
form had a direct affect on how people used the ATM. This relates directly to fragrances. The better
the form the more interacting with it there will be.

The more attractive the form of the fragrance looks, the more the user would buy into the scent. It
could be argued that if a fragrances scent is horrible than no matter how nice the form of the bottle
looks; no one would buy it. How ever, you see the bottle before you smell the scent, which can
suggest that the form of the bottle dictates the likability of the scent. The form would then directly
affect your attraction level, to the scent.

Rebecca Sacks from vanity fair once said Nothing is as ephemeral as perfume, the instant you spray
it, its physical traces disappear and only the scent remains. (Roads 2016) This means that the scent
of the fragrance itself is very short lasting. Does this mean the biggest influence of a fragrance has to
be its form? Consider an iconic scent such as Chanel No. 5, the bottle is more recognisable than the
scent. Not only could you say that the form of the fragrance means more to the consumer than but
 10

you could also say the form of the fragrance is actually the most integral part of the fragrance
product as a whole.

The packaging that surrounds the fragrance is so important in the industry that its become
prestigious to design an Iconic bottle. It is the best formed bottles that regularly win awards at the
FiFi awards, the industries most well known awards event. Its almost as if the bottles appeal, has
taken over from the scents appeal.

It could be argued that the bottles form is shaped around its scent. This means that the form does
follow the function. When working on iconic fragrance bottles such as Red Door by Elizabeth Arden
and Lair Du Temps 2000 by Nina Ricci, packaging designer Marc Rosen said The bottle should be
the physical embodiment of the fragrance. (Roads 2016) This is because he feels the user judges the
fragrance from the bottles design. Although its a statement that correlates with form follows
function it does how ever back up that the form is what causes the user to like or dislike the scent. In
that case the form is much more important factor than the function.

It will always be disputed what means more to a fragrance its form or its scent. There are strong
points on both sides of its form vs function argument. The scent is the base function of the product
and sets the tone for the whole design. How ever the form of the bottle is what reaches the users
emotions. You see the form before you smell the fragrance so the sculpted form of the bottle
actually sets the tone. In a sense the function follows the form.
 11

2.6 Jean Paul Gaultiers Classique

Figure 4 - Superdrug, 2016. [03/02/16]

One iconic bottle that comes up time and time again for its unique bottle design is Classique by Jean
Paul Gauiltier. It takes the shape of the of the human body. It is well known for creating beauty
through the sculpted human form. It was one of the most popular fragrances on the market. At its
unveiling in Saks fifth Avenue, New York, it broke the stores record for a perfume launch, taking
$300,000 in retail sales in its first week. (Mcdowell 2011 P.115) It is a subject that is touched a lot in
Gaultiers book because it was his first fragrance launch. Presented inside a tin can with the bottle
forming a female mannequin, it was designed to be visually intriguing. He designed it so that the two
layers of packaging contradict each other. The contradiction makes Harmony. (Mcdowell 2011
p.115) The process of designing the form and the way it would appear, was much more important to
him than the scent. Although he did work on getting the scent right as well, that part of the process
came after the form design. As a designer he noticed that when designing a fragrance focusing the
design process on the form first was more important. He knew that people would judge the product
 12

off the way it looked. Without knowing the user has already made up their mind about the scent, by
being impressed and intrigued by the packaging and form.

Gaultiers Classique fragrances success and design process shows the scent is not as important as the
influence that the form has on the user. If you like the shape of the bottle that the fragrance is in,
then your emotional attraction will tell you that the fragrance is attractive.

2.7 Conclusion
Through the use of research into form vs function it was outlined what can be considered as form
and how it attributes to function. Although its a belief that form follows function, applying the
discussion to fragrance design, it suggests the form of the fragrance bottle dictates the function of
the scent.

The information gathered on sculpture helped create a better understanding of what form is and its
usefulness. It helped show that form doesnt necessarily need function and just like the Classique
fragrance bottle, using form create attraction is a design necessity.

Through the extensive research into fragrance bottle design, it was concluded that most of iconic
bottles relate to the theory of using the bottle to sell the fragrance. Looking at the design process
that the Gaultiers Classique bottle went through an incite into what designers think when bringing
such products to market was shown.

Fragrance bottles define what we are through our tastes and emotions. There grasp of form is what
reaches us as the buyer. They determine how we will feel about the fragrance.
 13

Chapter Three
Methodology

3.1 Introduction
Choosing form vs function in fragrance packaging as the main topic of discussion meant undertaking
different primary investigation techniques to help further explore the subject. This also expanded
the knowledge base with in the dissertation and helped back up the exploration in my secondary
research.

To identify the answers to the points made in subject at hand three different techniques were
applied. These techniques helped to greater understand the topic and help prove that it is in fact the
design of the bottle that sells the fragrance.

The first technique used was a scent based questionnaire. Using a questionnaire allowed a way to
build up results with a variety of different outcomes. The second technique was a fragrance based
experiment. This allowed a way to apply what was learnt in the questionnaire into greater detail
creating a more sustainable outcome. The third technique applied was an interview. This helped
gather information about the topic from the view of someone relevant in this area of design.

Through this in depth primary exploration, attention was paid to how consumers respond to
different forms and scents. The way in which fragrances are perceived is important to helping
understand what is the biggest driver behind fragrance design, Form or scent.
As stated by designer Luigi Colani Form does not follow function, Form follows emotion (Woodman
2007). The form of a fragrance bottle is more more instrumental to causing emotional attraction
than realised.

3.2 Method
Using the starting points outlined in the introduction to the dissertation as a base point, the primary
research further developed the information gathered in the secondary research. Using a variety of
 14

techniques was a good way of gathering a lot of relevant information on fragrance perception. The
three specific techniques mentioned, displayed a range of outcomes.

The first technique used was the scent questionnaire. With in this questionnaire six different
fragrances where used. Samples can be found in appendix 3. The participants were tasked with
matching the scents and bottles to the name of the brand. This showed how they related to each
fragrance and what they could identified first, the bottle or the scent. This helped to show that it is
the design of the bottle that sticks in the consumers mind.

The second technique adopted was an experiment. The experiment involved three different sculpted
bottles with the same scent inside. Images of these can be shown in appendix 5. Participants were
asked to pick a favourite looking bottle and then a favourite scent. No one was told that each bottle
had the same fragrance in until after they had answered. It was documented how many participants
noticed. The aim was to show that the scent is directly affected by the bottle. The hypothesis was
that the bottle picked the most as favourite for form would also be the bottle picked most as
favourite scent.

The Third technique used was an interview. The Interviewee was a graphic designer, who had
experience designing fragrance as well as designing around form and function. This helped gain an
incite to how other designers work on such projects and what comes first, form or function. The
results could then be analysed and compared to the secondary research.

3.3 hypotheses
The general hypothesis is that the bottle form has a direct effect on the consumer and is much more
important than the scent when thinking they would buy it or not. As stated by Donald A. Norman in
emotional design Attractive things should certainly be preferred over ugly ones, but why would they
work better (Norman 2004 P.17) The attractiveness of a bottle affects how the user feels about the
scent.

The scent questionnaire was expected to show that participants would easily be able to match up
the bottle with the name of the fragrance but not be able to match up the scent. This is because
they relate to the form of the bottle more. You are more likely to remember the bottle because you
naturally care more about what it looks like rather than how the fragrance smells. It can be argued
that the form makes much more of an emotional connection with you than the scent.
 15

The scent experiment was expected to show that some participants would notice they all had the
same scent but more people would not. This is because as a consumer what you see the fragrance in
dictates how you will perceive the scent. If you dont like the look of the bottle you probably wont
like the scent. It was thought that the bottle that is picked as the favourite would line up with the
scent that is picked as the favourite.

With the interview it was expected that form would be the more important of the design process
when it comes to fragrance. The interviews aim was to prove that a fragrance designer, would
always think about the form and build up the brand around that form, before thinking about the
scent. At the end of the questionnaire was a very straight forward question. Form or function? If the
answer co-insides with the points already made, the answer will be form.

Using the research this dissertation will aim to prove that the form of a fragrance bottle is more
important than the scent of the perfume in how popular it is, amongst the consumer.

3.4 Sample and Surveying

The sample of participants were aged between 18 40. This is because this is the age range
identified as the main fragrance buyers. In order to prove or disprove the hypothesis, the samples
needed to be consumers who regularly bought fragrances but still across a wide range of ages. The
participants asked were an equal amount of male and female. Involving more of one gender could
have affected the results.

For the scent questionnaire three of the fragrance sales representatives in the Nottingham boots
retail store were also questioned. This will obtain data from professionals in the fragrance field to
compare to the average consumer. To make sure there was enough data to make the statics would
be relevant, the aim was for 30 responses or above. This would give enough information to compile
true data.

3.5 purpose
At the beginning of the essay it is mentioned that fragrance bottle design is vital to its successfulness
as a whole, in terms of a product. It is then further discussed through the secondary research that
the form of the bottle has a direct effect on how the consumers perceived the product as a whole
including the scent. The purpose of the primary research was to establish a set of data that either
proves or disproves this.
 16

Chapter Four

Survey results and analysis

4.1 Variables and overview

The scent questionnaire was designed to prove that people related the to the bottle of a certain
fragrance before they related to the scent. Each participant was given the names of six different well
known fragrances. They were then asked to match up six different pictures, with the name photo
shopped out and six different scent samples to those names. The hypothesis behind this experiment
was that the participant would be able to match the pictures to the names easier than the scents.

To account for the factor of asking and even amount of males and females The six fragrances where
split into three male scents and three female scents.

The number of participants that undertook this questionnaire where 32. This was enough data to
draw a realistic conclusion. Once the participants had filled out the questionnaire their answers
where checked against an answer sheet to conclude an accurate result. In the results section on
page 18, is a filled out answer sheet with the same format the participants used to fill out. The
correct answers are filled in.

The scent experiment was design to prove that the form of the bottle strongly dictates whether the
scent is liked or disliked. Three bottles where filled had very different forms. The Gaultier Classique
bottle referenced in the literature review was included. The participants where then asked to pick a
favourite bottle based on form. After this they were then asked to pick a favourite bottle based on
scent. After they had completed the experiment they were then told that each bottle had the same
scent if they had not figured it out.

The number of people that took part in this experiment was 56. This was to gain a big enough
sample for the results to be as realistic as possible. A mix of age ranges and genders where included
 17

with in the experiment making the data as fair as possible. The results of the experiment can be
found under figure 4 in the results section.

4.2 Results

The format of the scent questionnaire with the correct answers is shown on page 18

The scent questionnaire results are shown in figures 5 and 6, on page 19

The scent experiment results are shown in tables 1, 2, 3 and figures 7, on page 20-21
 18

Max Oldham
Scent Questionnaire
Male
Female

Name Marc Jacobs Invictus DKNY Paco Diesel Jean Paul

Daisy Delicious Rabanne Only The Brave Gaultier

Picture 6 4 2 5 3 1

Scent 2 5 1 6 4 3

1 2 3

4 5 6

Pictures
Scents
 19

Figure 5:

How Many Were answered Correctly

35
100

30

25

20
Number of
correct Percentage
50
Answers 15

10

0 0
Marc Jacobs Daisy Paco Rabannes DKNYs Delicious Paco Rabannes One Jean Paul Gaultiers Diesels Only The
Invitus Million Classique Brave

Bottle to Name Scent to name

Figure 6:

120
Average percentage comparison
100

80

60
Percentage
40

20

0
Marc Jacobs Paco Rabannes DKNYs Delicious Paco Rabannes Diesels Only The Jean Paul
Daisy Invictus One Million Brave Gaultiers
Classique
Professionals, Bottle to name Consumers, Bottle to name
Professionals, Scent to name Consumers, Scent to name
 20

Table 1:
The Bottle The favourite looking bottle Final Tally

20

15

Table 2:
The Bottle The favourite looking bottle Final Tally

21

Table 3:
Final Tally
How many people I
asked 56
How many people
noticed the same 18
scent in each bottle
 21

Figure 7:

Final tally of how many times form and scent was picked as
favourite
25

20

15

10

0
Jean Paul Gaultier Bottle Calvin Klein Bottle Ted Baker Bottle

Form Scent
 22

4.3 Analysis

Scent Questionnaire analysis

The data gathered in the scent questionnaire was aiming to prove consumers find the bottle much
more recognisable than the sent. The data therefore needed to show that the participants matched
up the bottle correctly more often than the scent.

Shown in figure 5 is the amount of times participants match the bottle to the name correctly (shown
in blue) and the amount of time the participants matched up the scent correctly (shown in orange)
Along the Y axis of is the number of times each fragrance was matched correctly and the percentage.
Along the x axis are the six different fragrances used.

The results show that there is a vast difference in the amount of times the bottle was matched up
correctly and the amount of times the scent was matched up correctly. This is Reflected in the bar
chart. It shows the difficulty the participants found matching up the scent to the right name.
Matching up the bottle with ease but struggling with the scent shows that the average consumer
finds the bottle more recognisable. The bottle is what connects with the consumer. They can easily
remember the form and the shape of a perfume bottle because that is the aspect of the product that
peaks their interest and causes their emotions to react. This is proven by the statistic that only 5 out
of 32 of the participants failed to scored perfectly on matching up the bottles.

The worst received scent was the Paco Rabannes One Million. Only 10 people out of 32 could get the
scent right. That is roughly a third of the participants. Whereas only two people out of the 32
participants matched its pictured up wrong. In 2014, an estimated 1.31million people used Pac
Rabanne 1million in the UK (Statista 2016). It is re-guarded as one of the most popular fragrances on
the market. Scoring poorly on scent in the questionnaire is strong evidence that people are buying it
because they like the bottle.

In the questionnaire only one participant scored perfectly and only one participant managed to
match up more scents correctly than the bottle. This could be argued as showing that not everybody
buys into the bottle more than the scent and it is possible to not be influenced by the design of the
bottle. How ever the other 30 participants on the survey matched up more pictures correctly than
scents. This shows that the majority of consumers are hugely influenced by the design form of the
bottle.
 23

As well as asking participants that fit into the range I was looking for, the questionnaire was
completed by for participants who could be regarded as professionals in the fragrance industry. They
were fragrance sales people in the Nottingham boots retail store. As participants whos job it is to
sell the products, they have extensive knowledge on the scents and bottles of each fragrance
included.

In figure 6 is a comparison between the consumer participants and the professional participants. It is
based on average percentage because the amount of professionals who took part was less than the
amount of consumers who took part. Over each fragrance is first a comparison of the correctly
matched up bottle, then a comparison of the correctly matched up scent.

As shown by the chart on average the professionals did better than the consumers. This was to be
expected from their knowledge on the subject. How ever it can also be seen that the professional
scored perfect on matching up the bottle matched up only 4 of the scents. This is even stronger
evidence backing up the point that the bottle design is the main aspect of a fragrance.

Scent experiment Analysis

The data gathered in the scent experiment was aimed to proved that the consumers reaction to the
form of the bottle dictates the consumers reaction to the scent.

Shown in tables 1,2 and 3 is the final tallied results of the experiment. The experiment involved 56
participants. Out of those 56 participants only 18 participants noticed that the same scent was in
each bottle. This is roughly a third of the participants. This shows that the majority of participants
involved had how they felt about each fragrance, influenced by the bottle it was in. They smelt
different scents depending on the bottle they were smelling from. This can be used as strong
evidence to back up the point that form is the main influencing aspect in how we perceive a
fragrance.

Shown in figure 7 is a comparison of how many times each bottle was picked as the favourite form
to how many times each bottle was picked as the favourite scent. The graph shows that the
popularity of each form matched which the popularity of each scent. The best perceived form was
also the best perceived scent. Out of the 38 participants who didnt notice the scent was the same in
each bottle, 20 of them voted the Jean Paul Gaultier bottle to be the most attractive form. 21 voted
 24

for the same bottle as the most attractive scent. This could be used as strong evidence to suggest
that the popularity of the bottle has a great effect on the popularity of the scent contained with in.
Because the participants found the Jean Paul Gaultier to be the best form, they were then
influenced by their emotion to find the scent inside, to be the best smelling. This further backs up
that the design behind the form of the bottle is more important than the scent.

4.4 Conclusion
The results of the scent questionnaire strongly suggest that the user relates with the bottle for the
fragrance more than its scent. We as the user see the bottle before we smell the fragrance. Without
knowing, the fragrance has already affected our emotions before the scent is even used. The
statistics from the questionnaire back up this point by showing that the participants remembered
how the bottle looks with ease, but struggled with the scent. The form out weights the function
when influencing the consumer to like the product.

The results of the scent experiment showed that the scent plays even less of a role when influencing
the consumer than first thought. The fact that only a third of the participants noticed the same scent
in the bottle shows how little the scent of a fragrance means. Two thirds of the participants where
heavily misdirected because of the form of the bottle.
 25

Chapter five
Interview results and analysis

5.1 Variable and overview

Miss Emma Tristram (the Interviewee) was a graphic designer graduate, from Nottingham Trent
university. She was involved on a live project conducted by Paul Smith, a popular fragrance brand.
The project was to design and brand a new perfume fragrance. The aim of the interview was to
gather first hand knowledge of the design process for a fragrance. It was also vital to collect
information about how form is integrated into the process and how important it from the view of an
experienced designer.

The interview was voiced recorded so no interruptions were made, allowing for better flow during
conversation. It was then written up at a later date. The full transcript can be found in appendix 5.
The consent for the interview was given by the interviewee. The conditions of the interview were
also made known before it began. The Consent form can be found in Appendix 4. The interview was
conducted one on one, in a professional setting. Each question was worded so that the answer could
be quite open. This allowed for a more detailed answer and more room for discussion. Only 7
questions were asked during the interview, the first 3 of which where based around being involved
in a fragrance project. The next 3 question were based around how the interviewees personal
feelings about form based fragrances and whether or not form was a more important aspect.

5.2 Interview results analysis

The first question was based around how a fragrance project would be approached. This is a way of
outlining what the interviewee would think are the more important aspects of such a project. From
the discussion the most important thing was the name. from there a conceptual idea can be made.
The form from a name seemed to be the best way to start the project. The interviewee said at the
end The smell of the fragrance can come later in the process, the brand comes first This show that
the image is much more important than the smell.
 26

The second question asked was based around considerations when forming such a product. Current
market trends and designing something classic was the answer. She wanted something that was
popular and would stay around. This emphasised the importance in form.

The third question was about the end result of a fragrance project. The answer was a nicer looking
form would be a happier end although you can complete forget about the scent. Even though the
scent was an important factor to her the form came out as a more important detail when finishing
the project. This again show strong evidence in support of the form over the scent.

The fourth question was more about current fragrances on the market and whether or not they
cared more about image. She shared this theory, that fragrance companies care more about image
than scent. She made the point that fragrances get sold on advertising alone saying you cant smell
the fragrance through a TV advert. This shows that the image of a fragrance bottle influences the
consumer into buying it before they even smell the product.

The fifth question was about how fragrances influence her even though she shares a similar opinion
with the hypothesis of this dissertation. She said she often buys perfume before smelling it because
the image and brand speaks to her a lot more than the smell.

The last two questions where simply on where or no form or function was more important. She said
both must be considered to make a good design but ultimately when it comes to fragrance, form is
the bigger aspect.

5.3 Conclusion
From this interview it was conclude that thinking about the form is a very big part of the design
process when it comes to fragrance bottles. Even though the brand itself might already be
established influencing both form and scent, the form comes first in the design process. Therefor it is
ultimately the bigger aspect. Designing a fragrance that looks terrible will stop the consumer from
buying it, let alone smelling its contents.

The interview also gave results of what form means from a consumers point of view through the
eyes of an experienced designer. Even though the interviewee had very strong opinions and
knowledge about how companies design and sell fragrances, she admitted to falling into the trap of
being persuaded by form. This begins to ask the question, doe the scent even matter?
 27

Chapter six
Conclusion

6.1 Conclusions
At the start of this dissertation a hypothesis with three aims and objectives based around, it was
stated. These three aims sole purpose where to help either prove, or disprove that hypothesis.

The first of the three aims was to build on work to de-myth form follows function. Not only that but
to define form and what it means to a product. Showing that form is more integral aspect of a
product directly linked to the form of a fragrance over shadowing it scent.

Through the use of secondary research, it was shown that form is a necessary part of any product.
Form is not necessarily dictated by a products function and is the aspect that reaches your emotions.
The way something looks, sets the tone for whether or not it is liked. The example that was used in
the Literature review was Phillip Starcks juicer. As a product its function was very flawed however it
is re-guarded as a beautiful product and is considered successful. How can form follow function if
the need for function is not as necessary as the need for form. Form is what creates meaning for a
product. its very easy to create a function but creating a form that reflects the product and creates
the need to pick it up that and start using it is, is difficult.

The second objective was to apply information discussed form the first objective to packaging
design. To discover how much of a role sculpting and forming packaging plays in selling the product.
Does the form of the packaging influence the consumer into buying the product and if so, how big is
that influence?

With in my literature review I isolated examples of such packaging that does so. The Ty Nant water
Bottle was one of the main example mentioned in the discussion. The product itself is just the water.
How ever the beautiful design of the packaging, the bottle, is what sells the product. Its obvious that
how a product looks has an influence on the consumer. If it doesnt look good the consumer will
never pick up the product and consider buying it. In the primary research a scent experiment that
 28

showed this influence is even stronger? Participants where smelling different scents depending on
what Bottle they were smelling it from. This shows that the form has not only attracted the
consumer to the product but its actually dictating how they perceive the scent. If they found the
bottle attractive, they found the scent attractive. Not only does the form of packaging influence
consumers into picking up the product but in some cases, influences the consumer into buying the
product with out considering the product as a whole.

The third objective was to focus all information to the scope of the dissertation. This was to discover
how much influence the sculpted form of a fragrance bottle carried on the product. This would
ultimately prove or disprove the hypothesis of this dissertation, that you buy into the bottle over the
scent.

The strongest evidence supporting this hypothesis came in the primary research. Not only was it
shown that participants related more with the bottle than the scent, but how they perceived the
scent was dictated by how they perceived the bottle. In the interviewee points were made as to why
this was. The form of the bottle is the first thing the consumer sees, therefore its the aspect of the
product that attracts the consumer. As soon as the consumer is attracted by the bottled they,
without knowing it, have already decided how they feel about the product. A fragrance attractive
image and recognisability, is more important than its scent.

Whether we as consumers know it or not, there is strong evidence that suggests a fragrances
likeability is controlled by its form. We are more likely to be attracted to the scent if we are first
attracted by the bottles design.

6.2 Limitations of the study

With in the scent questionnaire a comparison between participants who were considered as
consumers and participants considered as professionals. The amount of participants that where
consumers greatly out weighted the amount of participants that where Professionals. The amount of
professionals that were available to take the survey where limited. This limited the amount of
responses.

The interviewee was a post graduate student who had taken part in a live perfume fragrance
project. This gave relevant information that was used in this dissertation. Designers who had a
popular fragrance bottle on the market could not be reached. This limited the amount of primary
research received.
 29

In the secondary research, certain fragrances where discussed like Chanel No.5 or Jean Pauls
Gaultiers Original Classique. These could not be obtained due to price or accessibility on the market.
This limited the primary research due to them not being able to be tested on consumers or looked at
further.

6.3 Recommendations
Through this dissertations primary and secondary research, very strong points were claimed and
reinforced. Although it sided very strongly with form, its still an open argument. The information in
this dissertation could be developed further and used in future pieces of work.

One of the biggest ways in which this dissertation could be taken forward, is to apply the
information onto a case study of iconic perfume bottles. Bottles such as Chanel No.5. Using the work
displayed to discover the perception behind such an iconic bottle would create a greater
understanding on the subject matter.

As well as applying the dissertation to other perfume bottles, the theory could be extracted and
applied to other types of packaging, like alcoholic drinks bottles. Other forms of packaging that play
a huge part in the success of the whole product. This could be useful in opening up other avenues of
understanding form. Finding out whether the perception to fragrance discussed, is the same with
other products, could help further back up the points put forward in this dissertation.
 30

References
Books
Grillo, P.J, 1975. Form, Function and Design. 1st Dover edition. Canada: Dover Publications
Inc

Wlison, R., 2002. Isamu Noguchi, Sculptural Design. First English language Edition, Austria:
Vitra Design Museum.

Norman, D.A, 2004. Emotional Design. 1st edition. United States of American: Basic Books

Mcdowell, C, 2011. Jean Paul Gaultier. 1st Edition. Italy: Cassell & Co

Web pages
Watson-smyth, K. 2010. The Secret History of: Phillipe Starcks lemon squeezer[online].
Independent online: The Independent. Available at:
http://www.independent.co.uk/property/interiors/the-secret-history-of-philippe-starcks-
lemon-squeezer-1972849.html [Accessed 29/01/16]

Bohl, F, 2012. Form or Function what matters more[online]. Flows portfolio, digital creative
London. Available at: http://www.79er.com/blog/articles/Form-or-function-what-matters-
more.php. [Accessed on 29/01/16] VF

Crest, R, 2013. Bone Furniture[online]. Beautiful Decay: Beautiful Decay. Available at:
http://beautifuldecay.com/2013/03/13/bone-furniture/ [accessed 29/01/16]

Grove, R.L, 2006, Organic design, inspired by nature Transcript. Talk: TED. Available at
https://www.ted.com/talks/ross_lovegrove_shares_organic_designs/transcript?language=e
n [Accessed 29/01/16]

Woodman, E, 2007. Forms follows function not emotion [online]. The telegraph online: The
telegraph. Available at: http://www.telegraph.co.uk/culture/art/3663650/Form-follows-
emotion-not-function.html [Acessed 01/02/16]

Roads, 2016. Something we like: perfume bottle design [online] roads online: Roads luxury
Group. Available at: http://roads.co/roads-blog/something-we-like-perfume-bottle-design/
[Accessed 30/01/16]

Statista, 2016 [ online] statista.com: statista. Avaliable at:

http://www.statista.com/statistics/305172/leading-paco-rabanne-aftershaves-and-eaux-de-
toilette-for-men-in-the-uk/ [Accessed 02/02/16]
 31

Images
Jean Paul Gaultiers Classique Bottle Superdrug, 2016. [online image] avaliable at:
Http://Www.Superdrug.Com/Medias/Sys_Master/Front/Prd/8965104730142.Jpg. 2016.
Print. [Accessed 03/02/16]

Front cover image 1 Pintrest, 2016 [0nline image] avaliable at:

https://www.pinterest.com/pin/324540716876082278/ [Accessed 02/02/16]

Front cover image 2 - The London perfume company, 2014. [online image] A short history of
fragrance available at http://www.thelondonperfumecompany.com/blog/a-short-history-of-
fragrance.html [Accessed 02/02/16]

The Bone chair Fabbaloo, design of the week: Bone Chair 2014. [Online image] Avaliable at:
http://www.fabbaloo.com/blog/2014/6/1/design-of-the-week-bone-chair
[Accessed04/02/16]

Starcks lemon juicer The Guardian, 2009 [ Online image] available at:
http://www.theguardian.com/lifeandstyle/wordofmouth/2009/jul/24/food-gadgets-best-
worst [Accessed 04/02/16]

Ty Nant Bottle Amazon, Tynant water still 16.9 ounce PET Bottles (pack of 24), 2016.
Avaliable at http://www.amazon.com/Tynant-Water-Still-16-9-Ounce-
Bottles/dp/B004H4LIBK [Accessed 04/02/16]
 32

Appendix 1

Below is a randomly selected Scent questionnaire return sheet. Filled out by a consumer. It is filled in
with the answers that participant chose to give. The participant was a female with in the age range
of 18-40.
 33

Appendix 2
Below is a randomly selected Scent questionnaire return sheet filled out by a Professional. A
professional as stated in the thesis, a professional is classified as a boots fragrance salesperson. The
questionnaire is filled out with the answer they chose to give. The participant was a female with in
the age range of 18-40.
 34

Appendix 3
Below are the six samples that were used in the questionnaire.

Sample 1 DKNYs Delicious

Sample 2 Marc Jacobs Daisy
Sample 3 Jean Paul Gaultiers Classique
Sample 4 Diesels Only The Brave
Sample 5 Paco Rabannes Invictus
Sample 6 Paco Rabannes1 Million
 35

Appendix 4
This is the final tally of the results from the scent experiment.
 36

Appendix 5
Below are images of each bottle that was taken apart, cleaned out and refilled with the same scent
for the scent experiment. Once the bottles were refilled they were put back together to give the
illusion they had never been opened.

After each of the bottles of fill with the same scent and
put back together.

The Ted Baker Bottle The Calvin Klein Bottle The Jean Paul Gaultier bottle
dismantled dismantled dismantled.
 37

Appendix 6
Below is a copy of the consent for allowing me to use the interviewee words in my thesis
 38

Appendix 7
Below is the transcript of the full interview referenced in the primary research.

Interviewer: If you were on a perfume designing project, what would be the first three steps you
would take?

Interviewee: I would name the product, its the most important thing. Everything comes from a
name. you can make a slogan from a name. From there you have to develop a concept that is
appealing to the target market that youre aiming for. The smell of the perfume can come later on in
the process. The brand comes first.

Interviewer: When design for forming, what sort of steps do you take or take into consideration

Interviewee: I would consider current market trend but also develop something classic because I
would want it to stick around. If I was designing perfume personally I would design something that
appeals to myself because you have to trust your own judgement. If you like your product its much
easier to design.

Interviewer: At the end of the project would you be happier with a nicer looking bottle or a nicer
smelling scent and why?

Interviewee: I think you have to have a compromise, you cant design a beautiful brand and then a
horrible smell. But I think a nicer looking bottle and branding is more important, as a designer
because thats what would sell. That is what sells. The nicer smell would just help it sell even more.

Interviewer: In your opinion from a designers point of view do you think the big fragrance
companies care more about a products image or the way the scent reaches the consumers
emotions.

Interviewee: I know Coco mademoiselle there adverts definitely connect with the consumer
emotions. You cant smell the perfume through the TV advert. The music they use, the whole look of
there brand. They use Kiera Knightly. I would buy a perfume just based on that.

Interviewer: When you buy perfume how much effect would you say the image of the bottle has on
you before you smell the fragrance.

Interviewee: A massive impact really. You can really only base buying a perfume of the way it looks
and its advertising. Ive often bought a perfume before Ive even smelt it but I get it because it has a
nice bottle, a nice brand and its just says something that I respect.

Interviewer: Would you then say you buy perfume because of the form or scent

Interviewee: The form. Definitely the form.

Interviewer: Form or function

Interviewee: Both. But more so form.

 39

Appendix 8