An interesting development of so-called “communication buildings” which are there to convey the identity and brand values to consumer. Furthermore, sound can be used to enhance a brand’s ethos and reach the consumers on a very emotional level.

A look at Sensory Branding reveals that our five senses are made up of visual, auditory, olfactory, gustative and tactile senses and there are various studies which indicate which sense can pick up the most information. One version states that the visual sense – so our eyes – is the strongest, followed by the tactile sense of our skin, the ears, smell and finally taste. Smell and taste has been used by brands such as Singapore Airlines and taste is offered by luxury fashion brands in the form of chocolates and Moon Cakes in China.

In this context, Sensory Marketing at the Point of Sale is introduced. The twenty-first century consumer is now looking to be emerged in a very unique experience when he or she visits a flagship store. BMW is a wonderful example of how brand identity, customer experience management and all senses can be engaged at a special “communication building” which BMW has just outside of Munich.

Another communication building is the Hugo Boss flagship store in Tokyo’s Omotesando street. Large images are provided by Hugo Boss. A further important development is the “Phygital Reality”, i.e. the merging of online and offline into one space at the point-of-sale.

Next “Sonic branding” is discussed, featuring an interview with John Altman who has composed the music for many famous fashion brands, such as Prada and Levis. The question is: How can brands use sounds and jingles in their commercials and at the point-of-sale to their advantage? This is where sensory branding comes into play once more, as all our senses help to memorize brands better.

The chapter closes with ethical questions and considerations regarding the content.

In particular, the side effects of sensory branding such as sensory overload are mentioned. A look at gentrification poses the question: “Are branded spaces equally inclusive and accessible without the pre-requisite of making a purchase and does it add to the cultural value of a place?” Furthermore, when brands are transforming our landscape (and not governments) our immediate environment is designed and curated by companies with strong commercial interest and in turn propagates consumerism, rather than cultural or social values.