Dissertation Part One by Hannah Wilkinson

Hannah Wilkinson N0306608 FCP Research Project FASH30001 Word Count: 7697

An Investigation into Sensory Perception, Experiential Dining and our Obsession With Desserts.

School of Art & Design

fcp3

Declaration Form 2012/13

Contents

Module: Negotiated Project Stage 1 Module Leader: Tim Rundle Ref. no: FASH30001

I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project.

Pg1-4

1-Introduction

Pg5-8

2- Methodology

Pg 9 Pg 10

Secondary Research Reseach Questions

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 University's regulations on assessment contained in its handbook.

signed .................................................................................................................... date .......................................................................................................................

Pg. 11-8

3- The Rise of Experiential Dining

Pg 19-24

Sensory Branding

Pg 25-28

A History of Sweet

Pg 29-32

An Introduction to the Senses

Pg 33-38

The Affects of Smell

Pg 39-46

The Perception of Taste

Pg 47-52

Touch

Pg 53-58

Visualisation of Taste

Pg 59-64

Technology

Pg 65-68

4- Sweet Nostalgia

Pg 69-76

Dessert Trends

Pg 77

Research Findings

Contents cont. Pg 80

5- Strategic Outcome

Pg 91

6- Conclusion

Pg 95-98

References

Pg 99- 104

Bibliography

Pg 105-107

List of Illistrations

Pg 108

Appendix

Pg 109-112

1-Morgaine Gaye Telephone Interveiw

Pg 113-115

2-Alexa Perrin Email Interveiw

Pg 116-118

3-Jonathan McCann Email Interview

Pg 119-121

4-Helena Karleson Email Interview

Pg 122-126

5-Prof. Charles Spence Telephone Interveiw

Pg 127-128

6-Photograph Research

Pg 129-130

7-Case Study

131-132 Pg 133-139 Pg 140

Image?

8-Questionaire Tutorial Record Sheets Ethical Cheaklist

Fig 2. ‘Food Design Example’ 2012

‘The tablescape is becoming an arena for creativity like never before’ (Housely S, 2012:online) Scientific research has proven these areas of experiential dining are to have measurable effect on our experience of the food itself. Professor Charles Spence, of the department of experimental psychology at Oxford University has conducted research into the effect of sound and touch on our perception of different foods. Spence, who works with top chefs including Britain’s Heston Blumenthal and Spain’s Ferran Adria (Head chef at El Bulli), says ‘our enjoyment of food depends on a range of sensory responses.’(Spence C, 2012:online). He says all the senses - taste, touch, sight, smell, and sound - combine to contribute to our enjoyment when we eat and drink. Consumers’ become aware of the environment through their five senses. By broadening the focus beyond the taste of food, we can examine how presentation, design, sounds, and space affects the way we interact with food.

Fig 3. ‘Orange Pantone Tart’ 2012

Fig 1 ‘Bompas and Parr, Mercedes Drive Thru’ : 2012

The rise of food design over the past few years has seen not only chefs but also designers approach food as a design object, opening the industry to experimentation. With the experience of food reaching much further than the food itself-taking in scent, sound, appearance, mood and many other aspects that stimulate all the senses. Take Bompas and Parr for example, creating spectacular culinary experiences on an architectural scale. Their projects explore how the taste of food is altered by synesthesia, performance and setting which engages all guests senses. In 2012 the ‘Mercedes Drive Thru’ event held at Selfridges featured a revolving restaurant and a troupe of roller girls serving. Vast pulsating light installations that illuminated as diners drove through it, picking up emotionally compelling food. (Fig1.)

In recent success of eating designers such as Marije Vogelzang and Bompas & Parr reflect this trend. During the types of experiences that these designers create everything is consumed. ‘We like to design for all the senses. Give people the clues that dinner is going to be amazing,…It’s about the theatre of the meal’ (Bompas 2011:online)

Introduction

This suggests that we are in a time where people are beginning to look at food differently. It is not only there to eat any more, but there to experience. It is becoming increasingly important to food designers to give their consumer’s emotionally pleasing experiences. Take Noma, a restaurant in Copenhagen awarded best restaurant in the world 2012 again against Heston Blumethals ‘Fat Duck’ and ‘El Bulli’. Creating Dishes shown here such as this Amuse-bouche smoked quail egg (fig 4) and ‘Pea Puree’ (fig 5). The 25-course menu and the unique design of each dish are an experience on their own. Food can also have a compelling power to remind us of old emotions and feelings more so than objects as it triggers memories from tastes and smells linked into the brain. ‘It’s amazing how food can be so emotive - to the point that it’s not necessarily the food itself you remember, but where you ate it, who you ate it with and the era in which you ate it. And when that food has fallen off the recipe cards or exists no more, you’re left with the bittersweet taste of nostalgia.’ (Clemons,2011:online) One aspect of eating a meal that does this the most is the anticipation of what comes at the end; dessert. The most basic of desserts ignites a sense of joy and nostalgia that is totally different to what we get from savory cravings. Scientists have discovered that no matter how full you are there is always room for dessert and that it brings us a sort of ‘food happiness’ it is because of this feeling that dessert will always have a special place in every ones appetite, whether you have a sweet tooth or not. According to a survey conducted by The Food Channel, 80% of respondents have dessert at least once a week, and more than 25% indulge in a sweet treat daily. Even reality shows like “Just Dessert” and “Cupcake Wars” have people thinking about having dessert. (Macrae, F, 2012:online)

Fig 4. ‘Amuse-bouche smoked quail egg’ 2012

Fig 5. ‘Pea Puree’ 2009

“We are at the beginning of a new era” (Vogelzang 2011:Online)

It is from this that the following report will discuss; the rise of experiential sensory dining, in relation to the link between dessert and nostalgia, to determine whether or not there is room for an interactive dessert only restaurant.

Methodology Table To gain a deeper understanding into sensory perception and experiential dining experiences, the research carried out needed to be specific. This was to gain accurate views and opinions from industry professionals and potential consumers’. Interviews with respected professionals in the industry were the main focus as they could give insight in to current trends and scientific research on the perception of food and desserts. Each interview consisted of 10 specific questions some the same and some tailored to the interviewee. Alexa Perrin Who: Founder of ‘The Experimental Food Society’ How: Email Interview where she answered ten topic specific questions.

Jonathan McCann Who: Head Chef Conrad Hotel, Miami How: Email Interview When: 3/1/2012 Why: Secondary research into food trends around the world such as the USA and Asia were looked at to gain a broader view of the food and dessert industry. An interview with Head Chef at the Conrad Hotel Miami was conducted to confirm any noticed global trends through out secondary research. It was also conducted to find out his opinions on desserts and the current rise in food design. As a chef he has first hand knowledge of the products and services in the food industry. Any knowledge of the USA’s view on dessert only restaurants will be noted as it could reflect what might catch on and be successful in the UK. Appendix pages: 116-118 Successful: Jonathan’s answers to the questions were very honest and informative. His views were opposing a dessert only restaurant challenging the research for this report. He also expressed his opinion on sensory dining and food design giving insights into how industry chefs may also feel. The interview showed opinions from a professional chef within the culinary profession. This was vital information as real pinions were gained from someone who has worked with food.

When: 13/12/2012 Why: An interview was conducted with Alexa Perrin as she overseas food design on a daily basis. Perrin has insights into current trends and ongoing movement within the food design industry. She overseas the Experimental Food Society which is home to 56 members from all areas of food design, therefore is aware of influential key players within the industry such as Heston Blumenthal and Bompas and Parr. The questions asked were to gain insight into the Experimental food society as some influential characters have evolved from it. Questions provoking her opinions on ideas for the strategic outcome were also asked as she could give a professional answer on weather it had been done before or any similar case studies to look at that already exist. Appendix Pages: 113-115 Successful? Alexa gave some great insights into people to look out for in to food design industry and who to research. Her knowledge of the industry confirmed current key players that were further researched. Opinion based questions about the strategic outcome part of this report were welcomed and she showed a lot of interest. The interview was an aproriate method of research as it gave time for Alexa to think about the questions and reply in detail. This resulted in Alexa giving many examples of areas to research as she, is head of the Experimental Food society. Professor Charles Spence Who: Lecturer at Oxford University in Experimental Phycology How: 20 minute telephone interview When: 15/1/2012 at 9am Why: Professor Charles Spence has done extensive research into sensory modalities. He has worked with Heston Blumenthal a key player within sensory dining and bringing molecular gastronomy to the masses. His research into sensory modalities can give scientific insights into the perception of food and sensory dining. In particular he looks at how our brains manage to process the information from each of our different senses (such as smell, taste, sight, hearing, and touch) this will help when writing the senses part of this report as he can give scientific knowledge. The interview will also give an understanding of the future of dining as his research focuses on how a better understanding of the human mind will lead to the better design of multisensory foods, products, interfaces, and environments. Appendix pages: 122-126 Succesful? Speaking to Charles Spence was very helpful as it gave answered to scientific knowledge first hand. He was also able to give examples of current successful experiential dining experiences he had been to and enjoyed is self. He also gave a brief overview on what he is working on now which helped a lot in seeing future innovation within restaurants and brands that may occur. The interview was an appropriate method of research as it allowed for personal specific questioned to be asked.

Helana Karelson Who: Textile Designer How: Email Interveiw When: 13/1/2012 Why: Helena Karleson is a textile designer that is exploring the perception of materials and researching into manipulation of materials and processes. An interview via email was carried out to find out information on how the sense of touch can effect the way objects including food are perceived. Part of her work includes clients such as Dove soap so she has knowledge on popular successful brands. This could give information on any industry professionals using the sense of touch within their work, as it is an effective way of stimulating another sense. Any information gained will help with the ‘Touch’ section of this report, as she has conducted many projects on consumer’s to see how the sense of touch can change a person’s perception. Appendix Pages: 119-121 Successful? Helena expressed how busy she was from the start so not all questioned were answered in great detail. However the ones that were answered gave key information into the sense of touch and its perception to take forward into that section of this report. It was also successful in having information from a person outside of the food industry, it lead to further research into other artists and textile designers from her examples given. Morgaine Gaye Who: Food Futurologist How: Recorded Skype Interview When: 25/1/2012 Why: Part of the research conducted for this report was to look into current trends with in the food design industry and any food related trends that link to the senses or desserts. An interview was conducted with Morgaine Gaye a food futurologist. Part of her work is consulting food companies develop new product therefore has a clear knowledge on up and coming trends within the food spectrum. She also holds lectures on specific food trends and research on all elements of the eating experience from mouth-feel to olfactory perceptions and the history of smell. The questions asked were to gain further knowledge in food trends particularly desserts. Also to gain further knowledge on sensory perception and olfactory as this is an area she studied specifically. Appendix pages: 109-112 Sucuessful? Speaking to Morgaine was probably one of the most successful interviews as not only did she give insight into current and future trends but also she was able to give her opinion on the strategic outcome and back up her reasons with facts. Many more areas to look into were given for example olfactory and how it affects taste and examples of existing experiential restaurants such as Ultra violet. Specific dessert trends were discussed and noted which was one of the aims for the interview. The interview showed all the different areas there are in food trends at the moment therefore it was an appropriate method of research as it lead to further research topics.

Methodology cont. What: Photographs of Desserts How: 3 pairs of photographs of desserts were held in front of participants and were asked to choose which one they liked the look of the best and which one they would like to eat. One was an average dessert and one was a molecular gastronomic dessert. When: Dec 2012 Why: A small piece of primary research was carried out on potential consumer’s to gain insight into their opinions on food design. This was to gain information and proof that food design is important in todays dining and food industry. Appendix Pages: 127-128 Sucessful? This was successful in confirming that food design is important as the majority of participants chose the dessert that had been constructed with molecular gastronomy. It has shown that consumers’ are drawn to food that has been ‘Designed’ for the plate.

What: Consumer Questionnaire How: Questionnaire posted to dessert bloggers and general public When:12/1/2013 Why: To find out if there was room for a dessert only restaurant some consumer research had to be done. The Questionnaire consisted on specific questions aimed at the strategic outcome of the report. This was done to gain specific answers and give an insight into consumers opinions on a dessert only restaurant. Appendix pages: 131-132 Sucessful? This was an appropriate method of research, as specific answers were needed. It was successful is gaining knowledge from consumers about there feelings towards a dessert only restaurant.

Secondary Research

Fig 7. ‘@am Dessert Bar’ 2012

The concept of sensory dining and food perception looking at desserts was explored via a wide range of secondary research. Along with the professional interviews held in the primary research, their personal online research was also explored to gain a better understanding of their profession. Sites such as ‘The Experimental Food Society’ found through Alexa Perrin guided research to other culinary designers that are mentioned through this report. Professor Charles Spences work was helpful as it had answers to questions that came up during the report. Trend forecasting websites such as WGSN were also looked at, and provided insight into up and coming dining and dessert trends across the world. It was also used further to look into any trends or key people in industry to research more in-depth. Any insights gained from primary research relating to the restaurant and dining industry were explored further through online secondary research.

Fig 6. ‘Nome Egg’ 2012

Research Questions The research carried out in this report was conducted to answer the questions: Using sugar as a stimuli can it effect the senses and how stimulating the senses can have effect on how food is perceived and the consumers experience? This was explored to find a link between why we love dessert and sensorial dining. This then lead onto further questions such as what affects sugar has on the brain? How do different senses react to sweet tasting foods? Why dessert only restaurants are becoming popular? And what are the affects of sensorial dining on a consumer? The answers to these questions will be uncovered in this report and within primary and secondary research. 9

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

The Rise of Experiential Dining ‘Our food environment is changing every moment. As it continues to evolve, we are faced each day with new decisions about what to consume and where.’ -Brian Wansink xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Fig 8 & 9. ‘Super Sonic K Booom’ 2011 A key factor behind the growth of experiential dining restaurants may be the influential idea of ‘the experience economy’ (Spence and Fitzman 2012 p.3) This relates to Philps Kotlers article on ‘store atmospherics’. Kotler argues that the tangible product is only a small part of the total consumption package. Buyers respond to the total product, which include services, warranties, packaging, advertising, financing, pleasantries, images and so on. (Kotler in Spence C 2012: p.3). As a result this infers that consumers are increasingly paying for ‘experiences’ and not simply for products and services. Many of the most successful companies in recent years have managed to differentiate themselves in the marketplace by selling engaging multisensory experiences. Think Apple, Samsung or Abercrombie and Fitch. Designers are also increasingly seeking to engage their consumer’s with unique experiences. Some designers have taken the economic downturn

on board and are creating design performances, while other are creating products, which puts experience first in hope that the user forms a bond and are less likely to discard it. ‘We are bombarded with so much on an everyday basis, but we are able to block it – Its like we have become stones’ says designer Nelly Ben Hayoun (Hayoun N, 2012:online). Hayoun believes that products no longer have impact on consumer’s, whether it be what we wear, buy or eat. In solution to this she has turned to designer performances such as the journey through her ‘Super K Sonic BOOOOum 2 Gold installation.

‘Super K Sonic Booooum is an installation demonstrating the visual equivalent of amassive sonic boom. It consists of a twenty five meter long ‘river’ of water running through a tunnel lined with thousands of silver balloons. A boat is pulled through the tunnel on a submerged track using a pulley system, with sound and lighting effects. Members of the public can ride in the boat accompanied by the physicists. This installation is designed to deliver physically thrilling experiences; it aims to bring the audiences on a journey through the physics of the impossible.’ (Still B, 2012:online)

Although Hayoun’s work may not have any links to dining, she is suggesting that consumer’s are no longer satisfied with the objects seen everyday. To stimulate consumer’s in order to interest and excited them everything now has to be made into a performance or involve a sensory stimuli. For this reason food designers and restaurateurs are making dining experiences just as experiential. ‘The Experimental Food Society is an organization formed to front the UK’s most talented and pioneering culinary creatives, featuring ground-breaking gourmet artists that will challenge your perception of food’ (Experimental Food Society 2011:online). The success of ‘The Experimental Food Society Spectacular’ (an annual showcase of members work) is evidence that consumer’s want an experience while they dine and that there is interest in the rise of experiential dining.

The rise of experiential dining has been explored by Heston Blumethal and can be said that he is responsible for bringing experimental food to the masses. His collaboration with Waitrose has seen him take ‘Britain by storm last Christmas for the second year running’ when selling out of his ‘show stopping’ Orange Christmas Pudding (Hall J, 2012:online). He has now produced a whole range of products for Waitrose from sauces to ready meals.

Fig 11. ‘Heston for Waitrose Product Range’ 2012

Fig 10. ‘Experimental Food Society example’ 2011

‘People go out to eat for the food, but also to be entertained. This trend is all about putting on a show on or around the table. (Gaye M, 2013 Appendix1 p.113)

(such as smell, taste, sight, hearing, and touch) to form the extraordinarily rich multisensory experiences’ (Oxford University 2008:online). From the interview conducted with Spence (Appendix5 p.122) it was found that various worldwide restaurants utilize his research findings to make their dining experience more pleasurable, further pleasuring the senses of their diners. This infers that the demand for unique dining experiences is not only down to the consumer’s but the restaurants that are researching into providing them, therefore supporting the rise of experiential dining.

Member of the Experimental food society Prof. Charles Spence research focuses on ‘how our brains manage to process the information from each of our different senses 15

Fig 13. ‘Sound of the Sea in The Fat Duck’ 2012

Fig 12. ‘Sound of the Sea’ 2012

“We ate an oyster while listening to the sea and it tasted stronger and saltier than when we ate it while listening to barnyard noises, for example.” (Blumenthal 2012:)

Fig 14. ‘Like a Kid in a Sweetshop’ 2009

Through his restaurant, books and TV series it can be inferred that Heston is responsible for the rise in awareness of the ‘Experimental Food Society’ and the growing interest in experiential sensory dining. His inspiring dish ‘Sound of the Sea’ shows diners being served their seafood accompanied with an IPod placed in a seashell, playing the sound of crashing waves. Created in collaboration with Prof. Charles Spence they ‘proved in their research, the soundtrack intensifies the seafood-y flavors in the dish.’ (Stucky B, 2012:online)

Similarly, Heston’s ‘Like a Kid in a Sweet Shop’ dessert is not only served in an old-fashioned lolly bag, it comes with a vial of scented water that, when sprayed, infuses the senses with the smell of liquorice, jelly beans, sherbet, gob-stoppers and more – instantly transporting you back to the days of your childhood (Carter L, 2012:online). This is an example of desserts bringing back nostalgic memories by tasting certain flavors and proof they are popular as it excites the consumer. 18

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Sensory Branding ‘More and more companies are employing stimuli such as scent, sound and texture to build stronger emotional connections with the customer and drive preference for their brands.’ -Lippincott xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Increasing amount of fashion houses and brands are taking this idea of sensory stimuli and applying it in their stores or fashion shows. According to an interview held with Prof. Charles Spence (Appendix 5 p.122) referring to sensory branding he said ‘as a message its everywhere…...from Chocolate to golf holidays’. A prime example is fashion brand Abercrombie and Fitch. The brand is targeting teenagers and young adults as ‘this demographic enjoy sensory experiences’ (Scent Austrailia, 2011) Abercrombie embraced this knowledge with an emphasis on loud relevant music, focused lighting on key areas and infusing the air with their most popular aftershave, ‘Fierce’.

Fig 18. ‘Abercrombie Feirce Perfume’ 2011

Fig 16. ‘Abercrombie in Store’ 2009

Fig 15. ‘Abercrombie Lighting’ 2009

Fig 17. ‘Abercrombie Feirce Advert’ 2011

Just like sensory dining, interaction in stores is a way to animate the brand and create a fun and memorable shopping experience. A multi-sensory experience occurs when the customer is engaged by two or more senses. Martin Lindstrom found that ‘brand impact increased by 30% when more than one sense is engaged and by a whopping 70% when three senses are integrated into the brand message.’ (Linstrom M, 2009:online). This suggests that marketing and branding efforts should pay attention to Sight, Sound and Scent in order to maximize brand impact and success. In relation to dining taste could be an added factor.

‘The most successful brands today are those that deliver feelings and emotions’ (Slideshare 2011:online) This highlights that brands that engage the consumer are more likely be remembered therefore more successful. It also suggests for this to be true brands have to create a narrative or experience to have impact on the consumer. This idea will be carried out in the strategic outcome section of this report.

Fig 20. ‘Thomson Holiday Hotel’ 2012 Fig 19. ‘Thomson Holidays’ 2012

In recent years many holiday companies have been playing on the sensory approach by offering short breaks or holidays claiming to ‘indulge your senses’ (Travel Exite 2011:online). An example is Thompson holidays. Thompson have designed ‘sensatori’ holidays that ‘have been designed to fuel your senses’ (Thomson, 2012:online). A quote from their online blog claims that ‘the more senses stirred, the more we enjoy an experience.’ Showing that by purposely engaging the senses in any experience it becomes more enjoyable. The senses have to be stimulated purposely because ‘we use more than one sense anyway we just do not realize until it is more apparent’ (Spence C, Appendix 5 p.122)

‘Affordable 5 Star Luxury, designed to fuel senses’ (Thompson Holidays 2012) 23

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

A History of Sweet ‘While the liking for sweetness is undoubtedly evolutionary in origin, dessert is a purely cultural phenomenon’ -Michael Krondl xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Sugar is one of the leading causes of the growing diabetes and obesity epidemics, but as consumer’s we can’t get enough of it. ‘Many people will continue to eat snacks and treats containing high amounts of refined sugar…In fact, people have been known to continue eating their favorite sweet foods even when their doctor says it’s killing them.’ (Scott S, 2012:online) Why sugar is so addictive as opposed to other foods or food groups is down to evolutionary biology. The human tongue can detect four basic flavors — salt, sour, bitter and sweet, but humans are naturally drawn to sweet because we are primates, animals that evolved eating fruit in the trees. As evolution continued we as primates have extended that preference beyond fruit.

‘The brain’s pleasure center, called the nucleus accumbens, is essential for our survival as a species... Turn off pleasure, and you turn off the will to live... When you consume any substance of abuse, including sugar, the nucleus accumbens receives a dopamine signal, from which you experience pleasure. And so you consume more’ (Mercola 2012:online) This process described by Mercola determines that whether one likes the taste of sugar a little or a lot, sweet foods react with everyone’s brains in the same way and is needed in order to make your brain function correctly, therefore helping us understand our love for sugar and desserts. Sugar produces something called dopamine. This is known as a “feel-good” neurotransmitter , according to the ABC news article.’If you consume caffeine over time, you habituate to it, and it has a different effect,’ (Popkin 2009:online). ‘With drug use, you habituate to a certain amount of drugs and need more over time. When it comes to sweetness, we don’t understand the long-term effect. What we do know is that we love to eat sweets,’ (Daily K, 2009:online)

Fig 21. ‘Sugar’ 2011

Our brains are hardwired to like sweets. ‘It’s in our DNA, and sweets are a yardstick for all pleasures,’ according to Dr. Alexei B. Kampov-Polevoi, professor of psychiatry at the University of North Carolina (Polevoi 2012:online) .This brings about the question, how does taste affect our brains, and what happens when we taste something sweet?

Fig 23. ‘Sweet Mix’ 2012

Fig 22. ‘Child in Sweet Shop’ 2005

Though sweet foods are not necessary for survival, the pursuit and making of them have shaped the course of history. Confectionary, Krondl says ‘fulfills the sorts of needs that make our species unique, it feeds the same desires that led us to build Notre Dame and the Taj Mahal, that brought us Chanel and Tiffanys, and, yes, Mickey Mouse and plastic pink flamingos’ (Krondl M 2011: p.4)

“Researchers have recently determined that refined sugar is more addictive than cocaine” (McClellan 2007)

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

An Introduction to the Senses ‘Feeling Human is using our senses to experience the world around us’ -Marie Rouillon xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

‘When we see the food we are using our sight, when we cut the food or prod it with a fork, we hear the consistency of the food, when the food comes closer to our face, we smell it, and through putting it in our mouth we both feel and taste it.’(Jeon J, 2010)

Fig 25. ‘Bompas and Parr ‘Mercedes Drive Thru’ 2012

Fig 24. ‘Bompas and Parr Jelly Mongers’ 2012

When looking at food, colour conveys critical information about flavour ‘by providing clues as to edibility, flavour identity, and flavour intensity’, according to an article in the Consciousness and Cognition journal (Taylor A, 2012:online). However by mixing up these expectations, chefs like Bompuss and Parr and Heston Blumenthal are creating culinary spectaculars that create confusion, leaving more of an impact on their consumer. This can be inferred that the more senses you engage the more the diner is experiencing. In recent years, sensory incongruity – the deliberate mismatching of the sensory attributes of a product – has become an increasingly common phenomenon in the food and beverage sector. Charles Spence believes we are in a ‘generation of children are growing up “touch hungry’’ (Spence C, 2002:online) This suggests that the generation now and in the future will expect all aspects of life to be experiential. Research in the Consciousness and Cognition Journal suggests flavour perception should not be defined by not only using one sense, but rather by using all senses together, unifying them with the act of eating. This highlights the importance of all the senses and why they will be looked at through the report. (Taylor A 2012:online)

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

The Affects of Smell ‘While all the senses are connected with memories, smell in particular sparks a flurry of emotional memories.’ -Meghan Holohan xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Fig 26 & 27. ‘Ralph Lauren 4D Spectacle ’ 2012 Although sight is not technically apart of taste, it certainly influences perception. Interestingly, food and drink are identified predominantly by the senses of smell and sight, not taste (Small D, 2008:online). ‘Eighty percent of what we perceive of the flavour of food is due to smell, 20% is down to just taste’ Accoring to Dr Carl Philpott of the smell and taste clinic. (Taylor A 2012:online) Scent is being considered with in restaurant cuisine as chefs are linking the sense of smell with taste. However stores, fashion houses, performances and exhibitions are taking on the idea of scent recognition by incorporating it within their brand. The perception of smell consists not only of the sensation of the odors themselves, but of the experiences and emotions associated with these sensations. Dutch Designer Niels Hoebers believes ‘Scent triggers your imagination; it calls back memories’. This

idea has been adopted by fashion designers as a way of linking a scent to their brand. Ralph Laurens recent 4D spectacle in London had ‘four digitally generated fragrance bottles squirting real perfumes into the air’ (Hoebers N, 2012:online). Scent is now becoming a crucial part of the fashion experience to offer another dimension to the brand. This suggests that interacting with consumer’s senses is becoming more apparent in everyday life inferring soon that all areas of our lives our senses will be creatively engaged on a daily basis.

Fig 28, 29, 30 & 31 ‘Lisa Mishima, Scented Menu’ 2012

by three chefs, each creating a personalized and tailored culinary experience according to his philosophy and ideas.’(Olfactoralist, 2012:online). Burr created the concept as an interactive gastronomic experience comprised of two journeys ‘— one excites the olfactory senses, while the other stimulates the taste buds.’(Binlot A, 2012:online). This multi sensory approach to food is likely to continue developing, with food pioneers such as Burr and Mishima pushing the boundaries by creatively manipulating every part of the dining experience.

When dining ‘smell can be as helpful a guide as text or visual descriptions’ (Mishima L, - WGSN 2012:online). Lisa Mishima is a multi-disciplinary designer, passionate about incorporating food into her designs. Mishima is the creator of ‘The Scented Menu’. She believes that ‘Aroma is such a strong element in food but it’s often overshadowed, where the majority of the attention goes to visual presentation and taste.’ The scented menu was made by Mishima for webzine ‘Look. Listen. Smell. Eat’. She feels ‘By broadening our focus beyond taste, we can examine how presentation, design, sound, and space affect the way we interact with food.’ (Mishima L 2012:online) Chandler Burr, creator of ‘Scented Diners’ offers a unique dining experience by linking food and perfume together. In collaboration with three enthusiastic and creative executive chefs from Restaurant Etichetta, Restaurant Vivendo, Restaurant Terrazza Danieli . ‘One scent menu interpreted

Bubble gum is actually one of the two flavours as a smell that’s the most highly identifiable out of every smell (Gaye M 2012: Appendix 1 p.109) 37

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

The Perception of Taste ‘certain colors enhance our enjoyment of food because we have linked the taste of a food with a color, even if it differs from that food’s natural color’ -Chalres Spence

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Fig 32 & 33 ‘The Taste of Tableware’ 2012 The experience and taste of sweetness is universally regarded as pleasant. In many languages, the word for “sweet” connotes as a pleasant experience. ‘Humans love the taste of sugar and the word “sweet” is used to describe not only this basic taste quality but also something that is desirable or pleasurable, e.g., la dolce vita.’ (Reed D 2006:online). This is suggesting that the taste of sugar or sweet substances can have a positive effect on a consumer’s mood, and justifies why a dessert only restaurant could work because of the pleasure we receive from sweet substances. Now that food design has entered the mainstream, tableware is in turn becoming more experimental and consumer’s are becoming more willing to buy into products, which enhance the eating experience. Designers and material scientists have incorporated these 41

ideas within tableware by playing with material texture and weight even infusing flavor into the utensils. By doing this they are manipulating the way taste is perceived therefore creating a sensory stimulus that makes it an experience. Jinhyun Jeon, a graduate of Eindhoven design academy, has explored the effect that tableware may have on taste. The project aims to reveal just how much of an effect can tableware have by stretching the limits of what tableware can do. Focusing on ways of making eating a much richer experience, a series of dozens of different designs has been created, inspired by the phenomenon of synesthesia. This is a neurological condition where stimulus to one sense can affect one or more of the other senses. Her project “Taste of Tableware” explores whether cutlery design can influence how things taste. (Jeon J 2012”online).

Jinhyun has come up with several “Tasty formulas” that determine the way we taste food by changing the temperature/tactility/ color/volume/weight/form. It has been proven in her work that by slowing down the moment of one bite with a temperature of 36.5 degrees can enhance the sweetness while consuming less amounts of sugar (Jeon J 2012:online). Jinhyun ‘s work shows that taste doesn’t just occur in the mouth it can be manipulated depending on what utensils you are using. On the other hand ‘everything is becoming self perceptive’ according to Dr Morgain Gaye, this is inferring that because consumer’s expect the taste to change they believe it does, having a placebo like effect. (Gaye M, 2013 Appendix1 p.109)

Tasty Formula

Fig34. ‘The Taste of Tableware Sweet’ 2012

Fig35. ‘The Taste of Tableware Salty’ 2012

“SWEET × 36.5°C = SWEET +++ SALTY × < 36.5°C = SALTY ++ SOUR × 36.5°C = SOUR × 100°C BITTER × >36.5°C = BITTER . SWEET + (0.5% × SALT) = SWEET ++ SALT ÷ SOUR = SALTY/SOUR SALTY × SOUR = SWEET +

Fig38. ‘Mariji Vogelzang Mouth watering Spoons’ 2012

Fig37. ‘Mariji Vogelzang Perfumed Spoons’ 2012

Fig36. ‘Institute of Making Plated Spoons’ 2012

Another area of exploration linked to this is the idea of infusing tableware with a scent or flavour, either by using naturally scented materials or by applying the scent to the production process. Eating designer Mariji Vogelzang acted as an ‘accidental perfumer” choosing spoons and bowls as her vehicle. ‘if you eat using these tools you add an extra flavor to your dish that isn’t actually edible but adding to your eating experience.’ (Vogelzang M, 2012:online) This highlights that using tableware as a sensory stimuli can improve ones meal and will be taken into consideration when suggesting a strategic outcome. Complimentary foods such as cherry wood with chocolate brownies and ice cream, and pipe tobacco with rosemary, potato and prosciutto were served by Vogelzang on fragrance soaked spoons. The Institute of Making is a multidisciplinary research club for those interested in the made world (Institute of making 2012:online). Research on the taste of materials was conducted to address the question of what physical properties of materials can be correlated with the sensoaesthetic properties that define our experience of taste (Institute of Making, 2011:online). Four spoons plated with different metals (gold, copper, zinc, and stainless steel) were used to taste cream samples having different tastes: sweet, sour, bitter, salty, and plain. (Fig 36) These examples prove that what food is eaten off has a considerable effect on taste and is an emerging trend in the world of food design.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Touch ‘Where the information is mainly digital or visual, we are not touching enough, and therefore our senses of touch decay.’ -Marie Rouillon xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Fig 40, 41, 42, 43, 44.‘Daily Haptics Texture’ 2011

The Idea is to inspire multiple sensory experiences that make you feel Human. (Rouillon 2012: Online)

Fig 39. ‘Daily Haptics Project’ 2011

The sense of touch is a hugely important part of our interaction with the world around us. However we have become use to a dining and retail environment where the over-reliance on only one sense has become a commonplace. Only recently have we started to see an increase in multi-sensory branding. The interactions with everyday devices are lacking sensibility, tactility, sensory experiences; according to Marie Rouillon textile designer behind “Daily Haptics” Through touch, we can very quickly discern a lot of details about a material. The basis of Rouillon’s project was conducted using cup like formed vessels with variations of each one. Rouillon said ‘through this project, I want to make people aware of the plurality of their sense of touch, of their importance in terms of full perception of the world,  and to reconnect them with tactility on a daily basis through my designs,’ rouillon explains. ‘I took the decision to communicate my concept  through everyday objects, without digital tools, in order to stress even more this urge to touch and experience the everyday world we live in,  through multi-sensory experiences’ (Roullion M, 2012:online)

‘Daily Hapics’ shows how visual information alone is not enough, hence why touch is also a vital part of the dining experience. For example how the food feels can be the opposite of how it looks and therefore creating a sensory experience formed through the sense of touch.

Helena Karelson has created a series of cutlery by casting different materials on them, for example leather and cork. The utensils use the surface texture of leather or cork to enhance the functional properties of metal. The potential for this type of tableware is huge in terms of dining, as it gives the opportunity to change cutlery to match each course. An example created by chefs at the restaurant El Bulli; called the Aroma Spoon. It works by clipping aromatic herbs and other scented foodstuffs to the edge of the spoon, consumers’ can add different flavours to their meal without adjusting the taste of the food itself.

Fig 47. ‘El Bulli, Aroma Spoon’ 2011

Fig 45&46. ‘Helena Karelsom Textured Cutlery’ 2012

As mentioned cutlery and what we eat of can effect the way we taste, however while not adding taste itself textured cutlery can also effect the experience of a meal by emphasizing the contrast between the texture of what your are eating off and what you are eating – for example the contrast between solid, foamy, or smooth and gritty. ‘Textures, materials, weight and temperature can all greatly influence the experience of eating or drinking. For instance I do not enjoy drinking coffee from a thick cold mug as much as I enjoy it from a thin one....New materials of tableware can definitely change our perception of food’ (Roullion M, 2012:online) This again highlights that the sense of touch or texture is important when eating. Roulillin’s project suggests that all though we see the rise of food designers such as Marije Vogelzang and Heston Blumenthal the utensils we use and what we eat off is something that is becoming more considered, because it is being proven it too can effect the way we perceive things.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

The Visualisation of Taste ‘A food designer is somebody working with food, with no idea of cooking’ -Igna Knokle xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

The saying ‘we eat with our eyes’ can be argued incorrect with the current development in food design. Food can play tricks on the senses when looks different to what its tastes. However in the case of restaurant Dans Le Noir the quote is proven correct. The restaurant offers customers to dine in the pitch black. It encourages the diner to ‘re-evaluate the notion of taste and smelling through our gastronomic and pedagogical process’. ‘Because your eyes have nothing to go on, you’re slightly at a loss,’ this creates a sense of confusion and diners are said to have great difficulty differentiating between simple flavours just because they can’t see them’ (Ramsden J, 2011:online) This shows that by deducting one sense it heightens the others causing affect that leads to a memorable sensory dining experience.

Taste is something we anticipate and infer from how things look, feel to the hand, smell (outside the mouth), and sound. We use these sensory experiences to tell, before putting something into the mouth. In most cases, when we come across a product, we perceive it with our eyes first. Our most powerful sense is sight. It ‘creates the strongest immediate impact’ (Slideshare 2011:online). Visual information is normally available to us from a greater distance than is the information provided by any of the other senses, such as audition, smell, touch, and especially taste (Spence C, 2009:online). It is important to understand that a sensory experience can occur between any combination of sensory groups, or even between different attributes within the same modality. For example the ‘Hot and Iced Tea’ from The Fat Duck restaurant. The pallet-cleansing beverage is the combination of hot and cold liquid in the same glass. When the diner consumes it they can feel hot on one side of their mouth and cold on the other. However, by far the most common example of sensory experience occurs when the visual attributes of a food (most commonly the colour) according to Prof. Charles Spence do not match-up with the actual taste/flavor (Sence C, 2009:online) This means the expectations set-up by what a consumer sees (e.g. the ‘visual flavour’) are not met by the actual flavour of the food when tasted. Therefore off loading surprise upon the consumer leaving them with a sensory experience.

Fig 48. ‘Dans Le Noir London’ 2011

Primary research was carried out to determine whether the visual of a dessert had impact on the consumers (Appendix6 p.127). From five pairs of the two photographs shown (one average dessert, one molecular gastronomic dessert) 98 percent of consumers chose the molecular gastronomic dessert when asked the question ‘which of these would you like to try the most.’ This proved that the more visual the dessert the more popular it was. It also happened that the more visual desserts shown were made via molecular gastronomy.

‘Our eyes let us “taste” food at a distance by activating the sense memories of taste and smell. Even a feast for the eyes only will engage the other senses imaginatively, for to see is not only to taste, but also to eat.’ (Sence C, 2009:online)

‘The ‘eye of the beholder’ platter concept is a piece of interactive tableware designed for two or more people to eat from. A crystalline substructure changes appearance with moving images – evocative of fire, ice, water, etc. – which are designed to contrast or compliment the dishes served on the platter. Very sensitive temperature monitoring and an array of motion sensors responsive to the utensils and the food makes the dining experience playful and surprising. Color, imagery and movement affect the appreciation of individual food items. The platter responds to a series of utensils that stimulate the lips and tongue in subtle ways.’ (Philips ,2011:online) New developments in tableware from designers like Philips and Arzak are showing how food isn’t the most important aspect while dining and could determine what we eat off in the future.

Fig 54. ‘Philips Lunar Eclipse Bowl’ 2012 Fig 53. ‘Philips Fama Plate’ 2012

Fig 49, 50, 51. ‘Jinhyun Jeon’s Visualisation of sweet’ 2012

Referring again to Jinhyun Jeon a second project of hers called ‘The visualization of taste’ explored how we visualize different tastes. Based on other peoples drawing she used her own to create a map - Visualization, Materialization, and Pattern Study of Taste- in order to further investigate how our sensorial experiences could shape the objects we use everyday. This example here (Fig49) shows her visualization of sweet. Her investigation shows that a new way of perceptual processes could challenge our potential sensory experiences and possible impact on in the process of sensorial perception. She used the drawings to create a series of objects that represented each sense. (Fig50&51)

Their collaboration of work is shown in the form of ‘interactive tableware that stimulates the senses through light, sound vibration and electrical current. Since the release of the first series of interactive plates the collaboration has looked at ways of altering the perception and enjoyment of food and drink by subtly stimulating adjacent senses at the same time.’ (Philips ,2011:online). They work by reacting to food placed on the plates or to liquid poured into the bowl. According to Arzak ‘Taste and the sensations triggered in the dining experience can be altered, expanding the repertoire of culinary stimuli and extending the experience of fine dining into a new dimension.’ (Arzak, 2011:online)

Fig 52. ‘Philips Eye of the Beholder’ 2012

Molecular gastronomy has been explored and developed by Philips Design Probes, ‘a community dedicated to ‘farfuture’ research initiatives which is believed to become the creative force behind innovative products that will one day become mainstream.’ (Philips 2012:online) They have come up with the concept of Multi-sensorial Gastronomy. Multisensorial Gastronomy explores how the eating experience can be enhanced or altered by stimulating the senses using the integration of electronics, light and other stimuli. Developed in collaboration with Michelin chef Juan Marie Arzak, the four design concepts of interactive tableware were– (fig.54) Lunar Eclipse (bowl), (Fig.53) Fama (long plate), and the Eye of the Beholder (platter) (Fig 52).

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Technology ‘The next frontier for social media and smartphones may well be the restaurant table.’ -Carol Tice xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Fig 55. ‘Buberry Flagship Store London’ 2012

As a result of this technological movement consumers no longer just see a product, they can almost taste, smell and feel it, creating a stronger yearning to buy. The foodservice industry is poised to outpace the economy for the 12th consecutive year with sales expected to reach $632 billion, a 3.5 percent increase over 2011, according to the National Restaurant Association. And restaurants will reinvest a lot of this money in technology that gives them an edge. (Pullen J, 2012:online)

Sophisticated in-store technology is being used to capture the attention of shoppers, and luxury retailers are going the extra step to create a truly distinctive setting. (Patel D 2013: Online)

From secondary research it seems that the idea of anything experiential or sensory are not only cropping up in restaurants but also in stores and fashion houses. ‘The in-store customer experience is more important now than ever as retailers aim to drive footfall back in-store in what has become an increasingly digital age.’ (Morely J, 2012:online) This suggests that in the near future increasing brands will use technological advancements to create sense-stimulating stores. The digitally enhanced new Burberry flagship store in London (Fig.55) is an example of this happening. They are using technology to play on the senses and create a memorable in-store experience. The store on Regent Street has been designed as a ‘physical manifestation of the Burberry website,’ known as Burberry World Live. (Morely J, 2012:online). The store features live streams of the Burberry catwalk show on a 38 sq m screen. Digital mirrors that when a customer walks into a changing room holding a jacket, one of the mirrors might respond by turning into a screen showing images of how it was worn on the catwalk, or details of how it was made (Morely J, 2012:online). According to Baily ‘Most of us are very digital in our daily lives now. Burberry is a young team and this is instinctive to us. To the younger generation who are coming into adulthood now, this is all they know.’ (Baily C, 2012:online) This is suggesting that in the future the majority of things in everyday life will be enhanced by technology, as the new generations are born into a digital world.

The interactive tables allow the customers to choose their meal from their seat. They can play games, have a choice of table ‘clothe’ and even watch their food being prepared in the kitchen. Inamo eliminates the wait to be served and lets the customer have control. This suggests that consumers are becoming more independent. It also shows that faster food is wanted but still at a high restaurant quality. According to Dr Morgain Gaye ‘Fast quality food to go and high end vending machines’ are trends to watch out for in 2014.’ (Gaye M, 2013 Appendix1 p.109)

Fig 57. ‘Inamo London Interactive Resturant’ 2012

Fig 56. ‘Inamo London Interactive Touch Screen Table’ 2012

These advances have made an impact everywhere, and one of the places we’re seeing more and more technology is in the food and restaurant industry. (Vardy M 2012:Online)

Fig 58. ‘Inamo Sign’ 2012

Technology is also finding its place at the restaurant table, ‘Technology touches every facet of our lives – as it always has – but with the emergence of mobile devices and cloud computing making more of an impact than ever, you’d be hard-pressed to go anywhere and not find a high-tech piece of hardware or software around. Now restaurants are looking for a smart way to tap into this unquenchable thirst for all things digital in order to accommodate the command in the food service industry. One of the best examples of advancements in restaurant technology is Inamo restaurant in London.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Sweet Nostalgia ‘Food goes to the stomach, but it can also activate the brain and can rouse strong memories and emotions’ -Mariji Vogelzang xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

‘We don’t use enough nostalgia in food’ and that ‘Sweets are the greatest pleasure of childhood’

Fig 59. ‘Dunkjestives’ 2012

By making his own Willy Wonka-inspired giant sweet shop Heston creates nostalgia from childhood confections. He believes that ‘Memory is so powerful. The experience, the context of food in some shape or form can be so exciting and make us so happy. If we denied ourselves those feelings, the world would be much worse off.’ (Blumenthal H, 2012:online). This infers that the sense of nostalgia can make a consumer happier whilst eating. Therefore by playing on this can create a more memorable experiential dining experience and is an effective way of exciting consumers. This will be discussed in the strategic outcome part of the report. ‘Food is a medium that brings people together where stories are shared and new ones are made’ (Mishima L, 2012:online) Retailers are tapping into a sense of nostalgia, with consumers revisiting childhood sweets. Sweets, Chocolate and Desserts are the most popular in giving nostalgic feelings because they are seen as rewards. Scientists have linked this reward factor with childhood hence why they are most nostalgic. Tim Richardson author of Sweets: A History of Temptation says ‘Sweets are like the memorials of our innocence. They remind of us of what it was like as children. The sweet will transport you back to a very particular moment in your life the way that nothing else does,’ (Richardson T, 2004:online) 67

Fig 61&62. ‘Nigal Slater Life is Sweets’ 2011

Fig 60. ‘Heston and his Fantastical Food’ 2012

Our five senses are some of the most powerful tools for enhancing food appreciation, dining experience and even brand association. Chef Heston Blumenthal’s latest TV series, Fantastical Food, focuses on memory experiences and our five senses in relation to food. Heston claims

The sense of smell and memory have been proven to be connected. Our brains can link old past times with smells causing a sense of nostalgia. Cook Nigel Slater, confronts some of his most vivid memories associated with sweets of his childhood, in the BBC Four documentary, Life is Sweets. ‘It’s not just that little sugar bomb in your mouth - it’s everything that’s attached to it, all the baggage that goes with it,’ he says. ‘Sweets have a compelling power to resurrect old emotions and memories in me.’ (Slater N, 2011) Supporting this theory that food evokes memories, in an interview conducted with Alexa Perrin (see Appendix2 p.113) founder of the ‘Experimental Food Society’ she said ‘Some people don’t like Christmas pudding but eat it anyway because it symbolizes Christmas. Sometimes the nostalgia or significance of eating a pudding means more than the flavor.’(Perrin, A Appendix2 p113). Perrin is inferring that food is symbolic can invoke complex cognitive faculties such as judgment, memory, and complex associations; eating can be a self-affirming act, allowing the eater to feel his or her mind thinking, judging, remembering, or enjoying. (David S, 2013:online) 68

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Dessert Trends Dessert should be an occasion...... not an afterthought -Nestle xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Fig 63 & 64. ‘Colibri Cafe Bejing’ 2012

It is a truth universally acknowledged that however full you are, there’s always room for dessert. Dr Nora Volkow says that our junk food culture means the chemical signals produced by the stomach to say we are full can no longer override the brain’s pleasure centers. ‘That is what dessert is all about,’ Volkow said. ‘They are bringing you a food that can overcome the satiety signals, so even though you are full, you eat it because of the pleasure it generates.’ (Volkow M, 2012:online) Sweet food also has a demonstrable effect on mood. ‘it has been shown that sugar comforts crying infants. But it isn’t just children that are susceptible to sugars sweet charm, scientists have noticed a higher intake of sweets during a woman’s mentral period’ (Krondl M 2012: p.8)

places have become a creative conceptual space in some parts of Asia’(Loh J, 2012) and consumers here are leaning towards multilayered, conceptual dining experiences creating atmospheric environments that play on all the senses. Popular venues such as 2AM dessert bar in Singapore and Colibri Café in Beijing are the new places to be and ‘Pause from the hustle and bustle of daily life’(Loh J, 2012:online).

Desserts are thriving under the guidance of conceptual cuisine pioneers particularly in Asia. This is evidence that innovation within desserts is currently on the rise. ‘Dessert 71

Fig 65 & 66. ‘Minature Gourmet Desserts’ 2012 to mean ‘fancy cakes.’ The concept of small desserts received a boost in the past decade from fine-dining chefs looking to offer guests more flavors. ‘At first we started to see a tasting menu, with as many as 12–15 courses in very small portions,’ Stéphane Weber, a chef and assistant professor of baking and pastry arts at the Culinary Institute of America recalls. ‘So you could have four or five dessert tastes.’ (Weber, 2013:online) The history of various confections and desserts is an adventure in culinary evolution. When you trace the history of certain desserts, you can easily see how influential inventions and exploration were on the passing of recipes, ideas, and ingredients to create new and tastier confections (Krondl M 2012). However, desserts as are commonly known today became popular through an evolution of technology and culinary experimentation.

It has already been seen that the cupcake craze has gone global along with cake pops. High-end caterers are also adopting the food pop by ‘combining the technique with sophisticated presentation, innovative taste pairings and even molecular gastronomy to add an extra level to the experience.’(Fig66.) (Housley S,2012:online). Desserts are also becoming smaller.‘Consumers are asking for desserts all day long. The trend is about frequency, not quantity. Rewards that can be had any time include smaller portions, bite-size desserts’ (Fig.65) (Food Product Design, 2012:online) From the research shown already that some people have to have sweet after a meal, a miniature dessert trend it catching on just to satisfy those with the sweet tooth just enough, to take away that sugar craving. ‘Bite-size desserts have been predicted as a food trend for years, but they really haven’t trickled down much from the fine dining sector until the past couple of years.’ (Wolf B, 2013:online). Tiny desserts date back at least to the 18th century, when petit fours took hold. The French term literally means ‘little ovens,’but came

Mini-desserts have been on the National Restaurant Association’s “What’s Hot” list every year since 2006 and still going (Pullen J, 2012)

Molecular Gastronomy

cooking, but for me I believe the food must stand up for itself without props and again’ (McCann J 2013: Appendix3 p.116) Inferring that the art of molecular gastronomy can take away the honesty of the dish by adding unnecessary effects. Despite this consumers’ are still paying £200 plus per head in restaurants such as El Bulli just to experience this spectacular food trend. Pierre Francois Roelofs specializes in molecular gastronomic desserts. Shown here are some examples of his work. (Figs 67,68,69) From the images shown it is easy to how this trend is growing as it can create spectacles such as these.

Fig 67, 68 & 69. ‘Pierre Francois Roelofs Desserts’ 2012

While Celebrity chefs like El Bulli’s Ferran Adria can be credited with bringing molecular gastronomy to the mainstream, its origins can be traced back to physicists Nicholas Kurti and Herve. What started in a lab moved on to professional chefs’ kitchens, and has now found popularity among home cooks. As a result apart of today’s trends show the surreal experiments of a generation of young “molecular gastronomists”. This highlights that previously unimaginable textures, unexpected flavours, and aromas are now being combined in order to create unique multisensory culinary experiences that provoke the diner. Although it has been proven that molecular gastronomy is a growing trend Jonathan McCann (Chef) says that ‘Molecular gastronomy. - it is a bit of “smoke and mirrors”, it has its place in

Research Findings Evidence from this report suggests that sensorial experiences are something a consumer is beginning to expect in every aspect of life ‘People always want experience’ (Gaye, M 2012: Apendix1 p.109). One significant finding was the effect senses could have on consumers’ dining experiences, could totally change their perception of where they are or what they are eating. This report has found that engaging more than one sense triggers the brain to remember the moment for longer, staying with the consumer and resulting in nostalgic connections. ‘Eating is the only thing that we do that uses all the senses, but in fact these are only tools used to send messages to the brain where the memory then helps us decide just how much we like or dislike a particular food’ (Blumental H, 2013:online). Therefore why restaurants are not the only places using sensory stimuli as a way of attraction consumers. A second major finding was the affect desserts or sweet substances have and why there is a universal desire for them. A final recurring factor was food design. With chefs like Heston Blumenthal making molecular gastronomy recognizable to the masses food and Bompus and Parr creating spectacular food performances, it is fair to predict that the future of dining will be one where sensory stimuli will be inevitable. Through the exploration of sensory perception and dessert trends it has been recognized that there is potential for an experiential, dessert only restaurant in the UK. However Chef Jonathan McCann disagrees he said ‘I personally think that the logistics and the climate and the way cities in the UK are laid out stops it. It is too inconvenient for people to have dinner at one place and move to another place, unless it is on the same street.’(McCann J 2013:Appendix3 p.116) With this being said it is understandable that consumers are less likely to move from one pace to another. However from feedback within the consumer research (Appendix 131) 90 percent of respondents answered yes when asked ‘Would you be likely to go to a dessert only restaurant if you had already been out for a meal?’ This was the general consensus of the consumer questionnaire. It infers that as long as the restaurant is worth going to and creates an experience like no other, it would be worth moving restaurants. With the current rise of molecular gastronomy and a consumer’s need for experience, the key is to offer a unique dining experience, which is more accessible. Dessert and sweet is something that has been noted throughout as a factor that excites consumers’ senses in different ways than normal, also the constant need for experience. These two key findings will be taken forward and will be explored within the strategic outcome section of this report.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Strategic Outcome ‘The suspense is terrible... I hope it’ll last.’ -Willy Wonka xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

We can already see the upsurge in immersive and interactive events and exhibitions that encourage consumers’ to experience, rather than just look. ‘Our yearning for sensory experience is on the up. Party as a reaction to an overwhelming digital world and partly because many of us have been economically forced to find entertainment and stimuli in ourselves’ (WGSN Creative team 2012). From reviewing the research and taking the key factors a suggested outcome would be an experiential dessert only restaurant. The factors discussed and found in the research will be taken forward and applied to the restaurant. The Interior, technology, desserts served and the launch will all be considered and suggestions made. As discussed throughout the report the senses have a considerable effect on human perception. Therefore recommendations made will take this into account when creating the potential outcome of a sensory dining experience that focuses on desserts. The concept will be to create a place of experience for adults, where only desserts are served. As molecular gastronomy is a growing trend in high-end restaurants it will be used to create desserts that stimulate and excited the consumers senses. Not only will the food have impact on the diner but the theme and atmosphere will be considered as ‘the atmosphere in which it is served probably plays a huge role’ (Spence 2012: Appendix5 p.122) Suggestions to create this atmospheric experience will be made within the design and technology section of the outcome. Creating a lasting impact will be the main focus as ‘the imagination is superseded by our newfound ability to experience.’ (SlideShare, 2010:online) 81

‘Britain has a rich history of pudding making and whilst you can experience delicious puddings at various eateries across the country I think its surprising that there aren’t more eateries dedicated to the dessert. There should be and I think it is something that will catch on in the UK in the same way that you see bubble tea lounges/cupcake shops/ doughnut shops are emerging in the UK.’ (Perrin A 2012: Appendix2 p.113) This quote from Alex Perrin head of the Experimental Food Society supports the point that there may be room in the market for a dessert only restaurant. This also suggests that it will need to be enough of a unique experience so that to set itself apart from the cupcake and tea lounges that emerged in 2011 to 2012. It was also found that from consumer research (Appendix p.131) the majority of potential consumers would like to see a dessert only restaurant. Also one that creates an experience that is more accessible to the masses. From research, sweet flavours and desserts have been proven to stimulate and excite the senses in a different way to other flavours. A recurring factor throughout this report was the enjoyment and popularity if desserts. ‘Desserts have grown by a more modest 15% between 2007 and 2012.’ (Mintel, 2012:online) As this growth has happened over time it suggests that there is demand for desserts that will continue to grow. Unique dining experiences already exist in the UK with many high-end restaurants using molecular gastronomy, however very few concentrate on one specific part of a meal; like dessert. Although dessert only restaurants do exist, there are very few well-known ones that offer unique sensorial dining that compare to experiential restaurants such as the Fat Duck.

Fig 71. ‘Dessert’ 2012

Fig 70. ‘Resturant Interior’ 2011

Concept

Why Desserts?

The Desserts

Fig 72. ‘Dessert Moodboard’ 2013

Using molecular gastronomy seems to be the secret behind most of the images shown through out the report. Using this ‘scientific cooking’ method can create dishes that give a sense of wonder, excitement and visual stimulation. Therefore it is being suggested that this method be used in this outcome, as the idea of the restaurant is to stimulate the consumer to give them a memorable dining experience. By using this method modern twists on old recipes can be made to hopefully recreate old confections of the past bring back a sense of nostalgia for the diners. Professor Mirco Marconi from the university’s Reggio Emilia campus says ‘our memory is fundamental in how our senses work.’ Memory is an aspect the restaurant will play on but using a modern twist. Here are some examples of the kind of dessert one can expect.

Restaurant Design

Fig 73. ‘Interior Ideas Moodboard’ 2013

As already mentioned, atmosphere can have a considerable affect on the over all experience had in a restaurant. Chef Jonathan McCann stated that ‘It is not just about the food, dining out or even eating at home. it is a very “social experience” dating back to where cave men seat around the fire to eat….’ (McCann 2013: Appendix3 p.116) This will therefore be taken into consideration when suggesting possible interiors and design aspects for the outcome of a dessert only restaurant. Suggestion to the general atmosphere, interiors, lighting, tables and bars have been shown hear in a moodboard.

Technology Technology will be considered to keep up with the current trends that were discussed in the technology section of this report. This will engage the consumers of today and the future, giving it longevity. As proven, technology within restaurants will see an increase in the coming few years therefore suggestions will be made as to some technology that could appear in the dessert only restaurant. Windows tablets and IPads are making their way into the restaurant by acting as digital menus. The tablet restaurant menus are replacing paper ones to eliminate the need of waiter interaction and for the consumer to enjoy scrolling through visuals of what they want to eat. This suggestion has been made as it gives consumers a chance to all view the menu together making it more social and a chance to enjoy the experience together.

‘The marketplace has seen a rise in touchscreen tabletops lately’ (Vong K, 2012;online) Fig 74. ‘Technology Ideas Moodboard’ 2013

Not only are tablet menus the new trend hitting interactive restaurants another recommendation would be to use a similar idea to one that exists in Mojo ICuisine in Taiwan. MoJo iCuisine does not have physical menus or tablets; instead, the menus are projected onto the tables from overhead. The customer interacts with sensors built into the table allowing them to swipe through the menu, see more detail on each dish, order, and even pays for their meal. This means that the communication between the user and the restaurant creates an ‘Interactive relationship’ meaning it becomes more experiential. The food is described as a mix of western food, fusion, and molecular gastronomy. Again another trend that is being picked up on in high end creative restaurants. The interface is designed to be viewed from both directions, so both diners can play with the interface from opposite ends of the table. According to an article for BBC food ‘In times of difficulty or distress, targeting our sense of smell is the quickest way to alter our emotional state. (Briggs H, 2012:online) The research on the affect smell and this quote clearly suggests that smell can have an immediate affect on perception. With this in mind the idea being used by retails stores and runways would be to have scent dispensers around the restaurant. All the scents will be based on dessert flavors and confectionary as the smell of sweet as are most common at calling back memories. Examples of technology that may be used are in the moodboard (Fig.74) 87

Ultra-Violet Case Study

2010 saw the opening of the revolutionary 10-seat multisensory experience restaurant, Ultraviolet in Shanghai . Opened by Chef Paul Pairet, whose aim is to ‘deliver a multisensory eating experience that goes beyond the mere taste of the food.’(Pairet P 2012:Online) Served in a dining room that closely resembles a movie theater, with its 360-degree video screen walls, surround-sound speakers and high-tech overhead lighting, each dish is accompanied by a carefully choreographed set of sounds, visuals and even scents, all intended to create a specific ambience to enhance the flavors of the meal. ‘The goal is to break down the constraints of the typical restaurant and intensify the focus on the food, not distract from it,’ said Mr. Pairet. Scott Write a visitor of Ultraviolet gives step-by-step guide as to what happens even before the consumer has reached the restaurant. ‘Ultraviolet is located in a secret location in an old Shanghai neighbourhood. After being driven to the restaurant by their private driver, you enter a set of inconspicuous double doors and cross into Pairet’s fantasy restaurant: a mixture of James Bond lair and mad scientist laboratory. Mesh metal doors slide open without any visible human attendants. Your

chilled drink awaits on a bar counter of raw wood. After a few sips, another door slides open, beckoning you down a hallway lit by a Baccarat crystal chandelier. Then, a final set of doors slides open. You can’t help but laugh as the 2001: A Space Odyssey opening chords play while you step into the all-white dining room: a plain rectangular table flanked by 10 white adjustable chairs. The dining experience begins.’ (Wright S 2012:Online) However creating such a spectacular took year and over the course of time. The ten-person dining room was rebuilt four times by three different crews before they got all the systems working properly. They hire 25 chefs and waiters working to serve and entertain just ten diners. They charge 2000 RMB per person and worked out that they would have to charge 5000 RMB to start breaking even.

Key Strengths • Multi-sensory in every aspect (Sound, Taste, Touch, etc.) • Multi-Experiential- not only with the food, but being surrounded by the 360 degree cinema screen and surround sound. • Use of molecular gastronomy in all the dishes. • 10 person table makes the experience more personal by sharing with less people

Fig 75 & 76. ‘Ultra-Violet Resturant Interior’ 2012

One of the objectives to justify the strategic outcome was to look at case studies to see how existing restaurants have included sensory stimuli and considered food design. The information gained will also be used to see if any ideas can be taken and implemented in the suggested outcome of a dessert only restaurant. Two case studies were looked at one on 2am dessert bar, Singapore (Appendix page) and the other on Ultra Violet Shanghai.

Key Weaknesses • Very niche dining experience as it can only sit 10 people • 20 course dinner can be overwhelming • To expensive to run barley breaking even

Conclusion This report outlined the potential opportunity for there to be room for an experiential restaurant based around desserts, which uses inspiration from current industry professionals and a growing trend in food; molecular gastronomy. Looking into how restaurants and brands create experiences lead research to the senses and sensory dining. Research on sugar was also carried out to answer why humans love desserts. These two aspects were explored to find a link between why we love desserts and sensory dining to lead to a possible strategic outcome. Putting the two together with the evidence shown through out this report, it would seem fair to suggest that there is room for a dessert only restaurant that offers a sensory dining experience. Through primary and secondary research it has been proven how important our senses are when it comes to dining. It has also shown how there is a clear link between the sense of nostalgia and our love of desserts and sugar. Taking both of these key factors, an experiential dessert only restaurant will be successful and have longevity, as it offers the customer an experience not just a food service. This has been proven in the research, as increasing brands are taking on the same idea of giving the consumer and in store experience. The senses and sugar were shown in this report to be linked; therefore as a suggestion the restaurant will be targeted at adults, as they will be able to link smells and flavours back to nostalgic memories. Targeting it at children will not have the same effect, as there will not be any memories to tap into. With in todayâ&#x20AC;&#x2122;s generation growing up in a digital word is going to be the future. With technology developing around us it has found its way into the culinary industry with chefs approaching food using science and making it an art form. The world off food is seeing exciting changes as the result of culinary pioneers like Ferran Adria and Heston Blumenthal leading the way. Throughout discussion within this report it has shown not only chefs but also designers trying to transform the dining norm by creating sensory stimuli objects or experiences. Using sugar as a stimulus it was found to be a recurring factor when researching into the senses. Each one is affected by the taste of sweet. Therefore a link between sugar and the senses has lead to an experiential dessert only restaurant to be justified.

‘Life is Short. Eat Dessert First’ - Torres Jaques

References

ANUPKUMAR, A., 2010. The Experience Generation [online]. SlideShare. Available at: http://www.slideshare.net/AdityaAnupkumar/ the-experience-generation [Accessed 13 January]

INSTITUTE OF MAKING, 2012. About [online]. The Institute of Making, Available at: http://www.instituteofmaking.org.uk [Accessed 16 December 2012]

ARZAK, J., in PHILIPS, 2011. Philips Design and Arzak present new generation multi-sensorial tableware [online]. Philips News Centre, Available at: http://www.newscenter.philips.com/main/design/news/press/2010/Philips_Design_and_Arzak.wpd#.UQVcTELIZlL [Accessed 13 January 2013]

JEON, J., 2012. Sensorial appetizer [online]. JJhyun, Available at: http://jjhyun.com/?portfolio=sensorial-appetizer [Accessed 17 December 2012]

BAILEY, C., in MORRLEY, J., 2012. Burberry designs flagship London shop to resemble its website [online]. Guardian, Available at: http://www.guardian.co.uk/fashion/2012/sep/12/burberry-london-shop-website [Accessed 15 January 2013] BINLOT, A., 2012. Feasting on Fragrance: The Interactive Gastronomic and Olfactory Experience of a Chandler Burr Scent Dinner [online]. Art Info, Available at: http://www.artinfo.com/news/story/827083/feasting-on-fragrance-the-interactive-gastronomic-andolfactory-experience-of-a-chandler-burr-scent-dinner [Accessed 17 January 2013] BLUMENTHAL, H., 2007. Seafood served with an Ipod [online]. Daily Mail, Available at: http://www.dailymail.co.uk/news/ article-448840/Seafood-served-ipod-Heston-Blumenthals-latest-recipe.html [Accessed 24 January 2013] BLUMENTHAL, H., 2013. My Philosophy [online]. The Fat Duck. Available at: http://www.thefatduck.co.uk/Heston-Blumenthal/OurPhilosophy/ [Accessed 21 January 2013] BLUMENTHAL, H., in STURGESS, E., 2012. Heston Blumenthal: We don’t use enough nostalgia in food [online]. Radio Times, Available at: http://www.radiotimes.com/news/2012-11-06/heston-blumenthal-we-dont-use-nostalgia-enough-in-food [Accessed 14 January] BOMPAS, S., 2011. Mercedes Drive thru [online]. Bompas and Parr, Available at: http://www.jellymongers.co.uk/projects#!__projects [Accessed 13 December 2012] BRIGGS, H., 2012. Why do we love to bake? [online]. BBC Food. Available at: http://www.bbc.co.uk/food/0/20339576 [Accessed 28 December] CARTER, L., 2012. Entralled by Heston Blumenthal. Appliances online blog [online blog]. 4 May. Available at: http://www. appliancesonlineblog.com.au/cooking/enthralled-by-heston-blumenthal/ [Accessed 28 December 2012] CLEMONS, R., 2011. Food Nostalgia. Choice. [online blog] 22 August. Available at: http://www.choice.com.au/blog/2012/august/ food%20nostalgia.aspx [Accessed 13 December 2012] DAILEY, K., 2009. The sweet science: how our brain reacts to sugar [online]. The Daily Beast, Available at: http://www.thedailybeast. com/newsweek/blogs/the-human-condition/2009/06/25/the-sweet-science-how-our-brain-reacts-to-sugary-tastes.html [Accessed 4 December 2012] DAVIS, S., 2012. Can food be art? [online]. Table Matters, Available at: http://tablematters.com/2012/12/05/can-food-be-art/ [Accessed 14 January 2013] EXPERIMENTAL FOOD SOCIETY, 2012. About us [online]. Experimentail food society, Available at: http://www.experimentalfoodsociety. com/aboutus.html [Accessed 20 November 2012] FOOD PRODUCT DESIGN, 2012. Ten Temping Dessert Trends [online]. Food Product Design, Available at: http://www. foodproductdesign.com/galleries/2011/07/ten-tempting-dessert-trends.aspx?pg=7 [Accessed 9 December 2012] GAYE, M., 2013. Food Futurologist: Interveiw with Hannah Wilkinson, UK, 25 January. HALL, J., 2012. Hestons ‘orange’ Christmas puddings already on ebay [online]. Telegraph, Available at: http://www.telegraph.co.uk/ news/uknews/9586987/Hestons-orange-Christmas-puddings-already-on-eBay.html [Accessed 4 January 2013] HAYOUN, N., 2012. Super K Sonic Booooum [online]. Nelly Ben, Available at: http://www.nellyben.com/projects/super-k-sonicbooooum-2-gold/ [Accessed 3 December]

JEON, J., 2012. Tableware as Sensorial Stimuli [online]. JJhyun, Available at: http://jjhyun.com/?portfolio=tableware-as-sensorialstimuli-2 [Accessed 17 December 2012] JEON, J., 2012. Visualisation of taste [online]. JJhyun, Available at: http://jjhyun.com/?portfolio=visualization-of-taste [Accessed 17 December 2012] KOTLER, in SPENCE, C., and FITZMAN, B., 2012. Dining in the dark. Vol 25 (12), Pg.3 KRONDL. M., 2012. Sweet Invention: A History of Dessert. 1st ed. USA: Chicago Review Press. LINDSTROM, M., in BRAND SENSE AGENCY., 2009. It started with a smell [online]. Brand sense agency, Available at: http://www. brandsenseagency.com/index.php?the-brand-sense-story [Accessed 15 January 2013] LOH, J., 2010. Colibri Café. J Loh [online blog]. 22 Sept. Available at: http://julianaloh.com/site/2010/09/colibri-cafe/ [Accessed 25 November 2012] MACRAE, F., 2012. Always have room for dessert? [online]. Daily Mail, Available at: http://www.dailymail.co.uk/health/article-2179547/ Always-room-dessert-Heres--brains-pleasure-centres-override-chemicals-say-full.html [Accessed 20 December 2012] MCCLELLAN, M., 2007. Sugar found to be more addictive that cocaine [online]. Slash Food, Available at: http://www.slashfood. com/2007/08/27/sugar-found-to-be-more-addictive-than-cocaine/ [Accessed 1 December 2012] MERCOLA., 2012. Why we eat more than we are suppose to [online]. Article Mercola, Available at: http://articles.mercola.com/sites/ articles/archive/2012/05/26/sugar-affects-leptin-signals.aspx [Accessed 2 December 2012] MINTEL, 2012. Yoghurts and Desserts. [online]. Available via: Mintel [Accessed 10 January 2013] MISHIMA, L., 2012. Spun honey by food for thought. Look.Listen.Smell.Eat [online blog]. 16 April. Available at: http://www. looklistensmelleat.com/search/label/Eating%20Experience%20Design [Accessed 14 December 2012] MISHIMA, L., 2012. The scented menu [online]. WGSN, Available at http://www.wgsn.com [Accessed 13 December 2012] MORRLEY, J., 2012. Burberry designs flagship London shop to resemble its website [online]. Guardian, Available at: http://www. guardian.co.uk/fashion/2012/sep/12/burberry-london-shop-website [Accessed 15 January 2013] NIGEL, S., Life is Sweets, 2011. [TV] BBC Four, 5 November 2011. OLFACTORIALIST,. 2012. Scent Dinnr with Chandlre Burr. Olfactoralist [online blog]. 12 September. Available at: http://www. olfactorialist.com/?p=2262 [Accessed 17 January 2013] OXFORD UNIVERSITY, 2010. Charles Spence [online]. University of Oxford, Available at: http://www.ox.ac.uk/research/medical_ sciences/people/charles_spence.html [Accessed 14 December 2012] PAIRET, P., in BERGMAN, 2012. Restaurant Report: Ultra Violet in Shanghai [online]. The New York Times. Availible at: http://travel. nytimes.com/2012/10/07/travel/restaurant-report-ultraviolet-in-shanghai.html?_r=0 [Accessed 20 January 2013] PATEL, D., 2013. Luxury retailers leading the way with in store technology [online]. Guardian, Available at: http://www.guardian. co.uk/media-network/media-network-blog/2013/jan/15/luxury-retailers-in-store-tech [Accessed 24 January 2013]

HOBERS, N., in WGSN. 2012. Scent trend analysis [online]. WGSN, Available at http://www.wgsn.com/Scenttrendanalysis [Accessed 27 November 2012]

PHILIPS, 2011. Philips Design and Arzak present new generation multi-sensorial tableware [online]. Philips News Centre, Available at: http://www.newscenter.philips.com/main/design/news/press/2010/Philips_Design_and_Arzak.wpd#.UQVcTELIZlL [Accessed 13 January 2013]

Housely, S., 2012. Taste of Tableware [online]. WGSN. Available at: http:// www.wgsn-homebuildlife.com/tasteof tableware [Accessed 12 December 2012]

POLEVOI, AB., in BRAINATHELTE., 2012. How do our brains react with sweetness [onlne]. Brain Athlete, Available at: http://www. brainathlete.com/category/brainfoods/page/3/ [Accessed 1 December 2012]

POPKIN, B., in DAILEY, K., 2009. The sweet science: how our brain reacts to sugar [online]. The Daily Beast, Available at: http://www. thedailybeast.com/newsweek/blogs/the-human-condition/2009/06/25/the-sweet-science-how-our-brain-reacts-to-sugary-tastes.html [Accessed 4 December 2012] PULLEN, J., 2012. 5 Technologies changing the restaurant industry [online]. Entrepreneur, Available at: http://www.entrepreneur. com/article/224332 [Accessed 16 January 2013] RAMSDEN, J., 2011. Eating with our eyes [online]. Guardian. Available at: http://www.guardian.co.uk/lifeandstyle/wordofmouth/2011/ jan/28/food-multi-sensory [Accessed 13 January 2013] REED, D., 2006. The human sweet tooth [online]. BMC oral health, Available at: http://www.ncbi.nlm.nih.gov/pubmed/16934118 [Accessed 20 December 2012] RICHARDSON, T., 2004. Sweets: A History of Temptation. New ed. UK: Bantam ROUILLON, M., 2012. Daily Haptics. Marie Rouillon material designer [online blog]. 6 March. Available at: http://marierouillon. com/2012/03/06/daily-haptics-2/ [Accessed 20 December 2012] SCENT AUSTRAILIA,. 2011. Multisensory Branding [online]. Scent Austrailia, Available at: http://www.scentaustralia.com.au/services/ multisensory-branding.html [Accessed 14 January 2013] SMALL, D., 2008. How does the way food looks or its smell influence taste? [online]. Scientific America, Available at: http://www. scientificamerican.com/article.cfm?id=experts-how-does-sight-smell-affect-taste [Accessed 25 January 2013] SPENCE, C., 2011. Sensory incongruity in the food and beverage sector: Art, science, and commercialization. PH.D. thesis, University of Oxford

VONG, K., 2011. Touchscreen Tabletop Menus [online]. Trend Hunter. Available at: http://www.trendhunter.com/trends/draqieinteractive-table [Accessed 20 January 2013] WEBER, S., in WOLF, B., 2013. Big Idea: Mini Desserts [online]. QSR Magazine, Available at: http://www.qsrmagazine.com/menuinnovations/big-idea-mini-desserts [Accessed 10 January 2013] WGSN CREATIVE TEAM., 2012. Sensory [online] WGSN. Availble at http://wgsn.com/sensory [Acessed 25 November 2012] WILKINSON, H. (hannah_wilkinson6@hotmail.co.uk), 2012. Interview Questions. 13 December. Email to Alexa Perrin (alexa@aprconsultancy.com) WILKINSON, H. (hannah_wilkinson6@hotmail.co.uk), 2013. Interview Questions. 23 January. Email to Jonathan MCann (Jonathan. McCann@conradhotels.com). Willy Wonka, 1964. [Film]. USA: David L. Wolper Productions. [Directed by Mel Stuart.] WOLF, B., 2013. Big Idea: Mini Desserts [online]. QSR Magazine, Available at: http://www.qsrmagazine.com/menu-innovations/bigidea-mini-desserts [Accessed 10 January 2013] WONG, J., 2012. Perfection in Imperfection [online]. Perfection In Imperfection. Available at: http://www.perfectioninimperfection.com [Accessed 26 January 2013]. WRITE, S., 2012. Ultra Violet [online].Timeout Shanghai. Availible at: http://www.timeoutshanghai.com/venue/Restaurants__CafesEuropean-French/6008/Ultraviolet.html [Accessed 20 January 2013]

SPENCE, C., 2012. How human senses determine our enjoyment of food and drink [online]. Herald Sun, Available at: http://www. heraldsun.com.au/technology/sci-tech/oxford-university-psychologist-charles-spence-on-how-human-senses-determine-ourenjoyment-of-food-and-drink/story-fn5iztw3-1226340491507 [Accessed 18 December] SPENCE, C., 2013. Professor at Oxford University: Interview with Hannah Wilkinson, UK, 15 January. SPENCE, C., and FITZMAN, B., 2012. Dining in the dark. Vol 25 (12), Pg.3 SPENCE, C., in DERBYSHIRE, D., 2002. Modern life can make us take leave over our senses [online]. The Telegraph, Available at: http:// www.telegraph.co.uk/science/science-news/3294993/Modern-life-can-make-us-take-leave-of-our-senses.html [Accessed 15 January 2013] SSR, B., 2011. Sensory Branding [online]. Slideshare, Available at: http://www.slideshare.net/RbkAsr/sensory-branding-102 [Accessed 13 December 2012] STILL, B., 2012. Super K Sonic Booooum [online]. Nelly Ben, Available at: http://www.nellyben.com/projects/super-k-sonic-booooum2-gold/ [Accessed 3 December] STUCKY, B., 2012. The Tatse of Sound [online]. Salon, Available at: http://www.salon.com/2012/03/11/the_taste_of_sound/ [Accessed 5 January 2013] TAYLOR, A., 2012. Eating using all your senses [online]. BBC Food, Available at: http://www.bbc.co.uk/food/0/20253159 [Accessed 5 December 2012] THOMSON., 2012. Luxury holidays [online]. Thomson, Available at: http://www.thomson.co.uk/luxury-holidays.html [Accessed 12 January 2013] TORES, J., in EMMETT, V., 2012. Dessert Trends [online] WGSN. Availible at http://www.wgsn-homebuildlife.com [Accessed 25 November 2012] TRAVEL EXCITE., 2011. Spa breaks in Scotland [online]. Travel Excite, Available at: http://travel.excite.co.uk/spa-breaks-in-scotland2011-N27673.html [Accessed 6 January 2013] VARDY, M., 2012. Resistance to the Inevitable [online]. The Next Web. Available at: http://thenextweb.com/insider/2012/09/22/howtechnology-changing-restaurant-industry/ [Accessed 15 January 2013] VOGELZANG, M., 2012. Dutch Profiles [online]. Marili Vogelzang, Avaiblable at: http://www.marijevogelzang.nl/www.marijevogelzang. nl/overzicht.html [Accessed 17 December 2012] VOLKOW, N., in MACRAE, F., 2012. Always have room for dessert? [online]. Daily Mail, Available at: http://www.dailymail.co.uk/ health/article-2179547/Always-room-dessert-Heres--brains-pleasure-centres-override-chemicals-say-full.html [Accessed 20 December 2012]

Bibliography

DAVIS, S., 2012. Can food be art? [online]. Table Matters, Available at: http://tablematters.com/2012/12/05/can-food-be-art/ [Accessed 14 January 2013] DELP, V., 2011. History of Desserts [online]. Gourmet, Available at: http://gourmet.lovetoknow.com/History_of_Desserts [Accessed 23 November 2012]

Websites AFETIAN, S., 2011.t [online]. Upsatrt, Available at: http://www.upstart.net.au/2011/08/12/long-live-dessert/ [Accessed January 13 2013] ALBERS, S., 2012. The evolution of food [online]. Psychology today, Available at: http://www.psychologytoday.com/blog/comfortcravings/201005/the-evolution-food [Accessed 29 November 2012] ANGLE, E., 2012. Does nostalgia or novelty drive our love of sweets? [online]. BBC Food, Available at: http://www.bbc.co.uk/ food/0/20170412 [Accessed 15 November 2012] ANUPKUMAR, A., 2010. The Experience Generation [online]. SlideShare. Available at: http://www.slideshare.net/AdityaAnupkumar/ the-experience-generation [Accessed 13 January] ARZAK, J., in PHILIPS, 2011. Philips Design and Arzak present new generation multi-sensorial tableware [online]. Philips News Centre, Available at: http://www.newscenter.philips.com/main/design/news/press/2010/Philips_Design_and_Arzak.wpd#.UQVcTELIZlL [Accessed 13 January 2013] BAILEY, C., in MORRLEY, J., 2012. Burberry designs flagship London shop to resemble its website [online]. Guardian, Available at: http://www.guardian.co.uk/fashion/2012/sep/12/burberry-london-shop-website [Accessed 15 January 2013]

DONALD, A., 2012. Have a break… the secrets of chocolate [online]. Guardian, Available at: http://www.guardian.co.uk/science/ occams-corner/2012/dec/31/food-science-biochemistrymolecularbiology [12 December 2012] DRZAL, D., 2011. How we got dessert [online]. The New York times, Available at: http://www.nytimes.com/2011/12/04/books/review/ how-we-got-to-dessert.html?_r=0 [Accessed 13 December 2012] EXPERIMENTAL FOOD SOCIETY, 2012. About us [online]. Experimentail food society, Available at: http://www.experimentalfoodsociety. com/aboutus.html [Accessed 20 November 2012] FOOD PRODUCT DESIGN, 2012. Ten Temping Dessert Trends [online]. Food Product Design, Available at: http://www. foodproductdesign.com/galleries/2011/07/ten-tempting-dessert-trends.aspx?pg=7 [Accessed 9 December 2012] FRANGOLI, K., 2008. 10 best movie quotes from willy wonka [online]. Yahoo, Available at: http://voices.yahoo.com/10-best-moviequotes-willy-wonka-chocolate-1271885.html?cat=4 [Accessed 16 December 2012] GOVAN, F., 2011. Elbulli chefs magic food academy [online]. Telegraph, Available at: http://www.telegraph.co.uk/foodanddrink/8290290/ El-Bulli-chefs-magic-food-academy.html [14 December 2012] HALL, J., 2012. Hestons ‘orange’ Christmas puddings already on ebay [online]. Telegraph, Available at: http://www.telegraph.co.uk/ news/uknews/9586987/Hestons-orange-Christmas-puddings-already-on-eBay.html [Accessed 4 January 2013]

BAYLY, T., 2012. Chocolate fashion show leaves sweet taste in Paris [online]. BBS News, Available at: http://www.bbc.co.uk/news/ entertainment-arts-20162326 [Accessed 23 December 2012]

HAYOUN, N., 2012. Super K Sonic Booooum [online]. Nelly Ben, Available at: http://www.nellyben.com/projects/super-k-sonicbooooum-2-gold/ [Accessed 3 December]

BERGMAN, J., 2012. Resturant Report: Ultra violet [online]. The New York Times, Available at: http://travel.nytimes.com/2012/10/07/ travel/restaurant-report-ultraviolet-in-shanghai.html?_r=1& [Accessed 15 January 2013]

HEILMAN, C., 2011. How dining experience affects your quality indicator survey [online]. Long Term Living, Available at: http://www. ltlmagazine.com/blogs/cindy-heilman/how-dining-experience-affects-your-quality-indicator-survey [Accessed 27 November 2012]

BIG HOSPITALITY., 2012. Restaurant Trends [online]. Big Hospitality, Available at: http://www.bighospitality.co.uk/In-the-Spotlight/ Restaurant-Trends [Accessed 28 December 2012]

HOBERS, N., in WGSN. 2012. Scent trend analysis [online]. WGSN, Available at http://www.wgsn.com/Scenttrendanalysis [Accessed 27 November 2012]

BINLOT, A., 2012. Feasting on Fragrance: The Interactive Gastronomic and Olfactory Experience of a Chandler Burr Scent Dinner [online]. Art Info, Available at: http://www.artinfo.com/news/story/827083/feasting-on-fragrance-the-interactive-gastronomic-andolfactory-experience-of-a-chandler-burr-scent-dinner [Accessed 17 January 2013]

HOUSELY, S., 2012. Taste of Tableware [online]. WGSN. Available at: http:// www.wgsn-homebuildlife.com/tasteof tableware [Accessed 12 December 2012]

BLUMENTHAL, H., 2007. Seafood served with an Ipod [online]. Daily Mail, Available at: http://www.dailymail.co.uk/news/ article-448840/Seafood-served-ipod-Heston-Blumenthals-latest-recipe.html [Accessed 24 January 2013] BLUMENTHAL, H., 2013. My Philosophy [online]. The Fat Duck. Available at: http://www.thefatduck.co.uk/Heston-Blumenthal/OurPhilosophy/ [Accessed 21 January 2013] BLUMENTHAL, H., in STURGESS, E., 2012. Heston Blumenthal: We don’t use enough nostalgia in food [online]. Radio Times, Available at: http://www.radiotimes.com/news/2012-11-06/heston-blumenthal-we-dont-use-nostalgia-enough-in-food [Accessed 14 January] BOMPAS, S., 2011. Mercedes Drive thru [online]. Bompas and Parr, Available at: http://www.jellymongers.co.uk/projects#!__projects [Accessed 13 December 2012] BRIGGS, H., 2012. Why do we love to bake? [online]. BBC Food. Available at: http://www.bbc.co.uk/food/0/20339576 [Accessed 28 December] BURR,C., 2012. About Scent diners [online]. Chandler Burr, Available at: http://www.chandlerburr.com/newsite/page0/ScentDinner. htm [Accessed 14 January 2013] COOKE, R., 2012. Curly wurlys and fruit salads: Britsh life is sweets [online] Guardian, Available at http://www.guardian.co.uk/ lifeandstyle/2012/nov/18/great-british-sweets-rachel-cooke [Accessed 14 January 2012] CORMIER, Z., 2011. Diner tuck into dirt banquet [online] Guardian, Available at: http://www.guardian.co.uk/science/blog/2011/ apr/05/diners-dirt-banquet-guerilla-science?INTCMP=SRCH [Accessed 23 December 2012] DAILEY, K., 2009. The sweet science: how our brain reacts to sugar [online]. The Daily Beast, Available at: http://www.thedailybeast. com/newsweek/blogs/the-human-condition/2009/06/25/the-sweet-science-how-our-brain-reacts-to-sugary-tastes.html [Accessed 4 December 2012]

INSTITUTE OF MAKING, 2011. Sensoaesthetic Properties of Material- Touch [online] The Institute of Making, Available at: http:// www.instituteofmaking.org.uk/research/sensoaesthetic-properties-of-materials/ [Accessed 16 December 2012] INSTITUTE OF MAKING, 2012. About [online]. The Institute of Making, Available at: http://www.instituteofmaking.org.uk [Accessed 16 December 2012] JEON, J., 2012. Sensorial appetizer [online]. JJhyun, Available at: http://jjhyun.com/?portfolio=sensorial-appetizer [Accessed 17 December 2012] JEON, J., 2012. Tableware as Sensorial Stimuli [online]. JJhyun, Available at: http://jjhyun.com/?portfolio=tableware-as-sensorialstimuli-2 [Accessed 17 December 2012] JEON, J., 2012. Visualisation of taste [online]. JJhyun, Available at: http://jjhyun.com/?portfolio=visualization-of-taste [Accessed 17 December 2012] KESSLER, A., 2011. Petite dessert trend has consumers buying more [online]. Small Business Executive, Available at: http://www. smallbizchicago.com/2011/04/petite-dessert-trend-has-consumers-buying-more/ [Accessed 28 December 2012] KRUMMERT, B., 2001. Restaurant technology [online]. Restaurant Hospitality, Available at: http://restaurant-hospitality.com/trends/ rstaurant-tech-what-customers-expect-0311 [Accessed 23 December 2012] LINDSTROM, M., in BRAND SENSE AGENCY., 2009. It started with a smell [online]. Brand sense agency, Available at: http://www. brandsenseagency.com/index.php?the-brand-sense-story [Accessed 15 January 2013] MACRAE, F., 2012. Always have room for dessert? [online]. Daily Mail, Available at: http://www.dailymail.co.uk/health/article-2179547/ Always-room-dessert-Heres--brains-pleasure-centres-override-chemicals-say-full.html [Accessed 20 December 2012]

100

MCCLELLAN, M., 2007. Sugar found to be more addictive that cocaine [online]. Slash Food, Available at: http://www.slashfood. com/2007/08/27/sugar-found-to-be-more-addictive-than-cocaine/ [Accessed 1 December 2012]

STUCKY, B., 2012. The Tatse of Sound [online]. Salon, Available at: http://www.salon.com/2012/03/11/the_taste_of_sound/ [Accessed 5 January 2013]

MERCOLA., 2012. Why we eat more than we are suppose to [online]. Article Mercola, Available at: http://articles.mercola.com/sites/ articles/archive/2012/05/26/sugar-affects-leptin-signals.aspx [Accessed 2 December 2012]

TAYLOR, A., 2012. Eating using all your senses [online]. BBC Food, Available at: http://www.bbc.co.uk/food/0/20253159 [Accessed 5 December 2012]

MISHIMA, L., 2012. The scented menu [online]. WGSN, Available at http://www.wgsn.com [Accessed 13 December 2012]

THOMSON., 2012. Luxury holidays [online]. Thomson, Available at: http://www.thomson.co.uk/luxury-holidays.html [Accessed 12 January 2013]

MORLEY, J., 2012. Burberry designs flagship London shop to resemble its website [online]. Guardian, Available at: http://www.guardian. co.uk/fashion/2012/sep/12/burberry-london-shop-website [Accessed 15 January 2013] NADEAU, B., 2012. Chandler Burrs Scent diners A revolution of smell [online]. The daily Beast, Available at: http://www.thedailybeast. com/newsweek/2012/09/30/chandler-burr-s-scent-dinners-a-revolution-of-smell.html [Accessed 27 December 2012] OXFORD UNIVERSITY, 2010. Charles Spence [online]. University of Oxford, Available at: http://www.ox.ac.uk/research/medical_ sciences/people/charles_spence.html [Accessed 14 December 2012] PAIRET, P., in BERGMAN, 2012. Restaurant Report: Ultra Violet in Shanghai [online]. The New York Times. Availible at: http://travel. nytimes.com/2012/10/07/travel/restaurant-report-ultraviolet-in-shanghai.html?_r=0 [Accessed 20 January 2013] PATEL, D., 2013. Luxury retailers leading the way with in store technology [online]. Guardian, Available at: http://www.guardian.co.uk/ media-network/media-network-blog/2013/jan/15/luxury-retailers-in-store-tech [Accessed 24 January 2013]

TORES, J., in EMMETT, V., 2012. Dessert Trends [online] WGSN. Availible at http://www.wgsn-homebuildlife.com [Accessed 25 November 2012] TRAVEL EXCITE., 2011. Spa breaks in Scotland [online]. Travel Excite, Available at: http://travel.excite.co.uk/spa-breaks-in-scotland2011-N27673.html [Accessed 6 January 2013] VARDY, M., 2012. Resistance to the Inevitable [online]. The Next Web. Available at: http://thenextweb.com/insider/2012/09/22/howtechnology-changing-restaurant-industry/ [Accessed 15 January 2013] VOGELZANG, M., 2012. Dutch Profiles [online]. Marili Vogelzang, Avaiblable at: http://www.marijevogelzang.nl/www.marijevogelzang. nl/overzicht.html [Accessed 17 December 2012] VOLKOW, N., in MACRAE, F., 2012. Always have room for dessert? [online]. Daily Mail, Available at: http://www.dailymail.co.uk/health/ article-2179547/Always-room-dessert-Heres--brains-pleasure-centres-override-chemicals-say-full.html [Accessed 20 December 2012]

VONG, K., 2011. Touchscreen Tabletop Menus [online]. Trend Hunter. Available at: http://www.trendhunter.com/trends/draqieinteractive-table [Accessed 20 January 2013]

POLEVOI, AB., in BRAINATHELTE., 2012. How do our brains react with sweetness [onlne]. Brain Athlete, Available at: http://www. brainathlete.com/category/brainfoods/page/3/ [Accessed 1 December 2012]

WALSH, J., 2009. Just add nostalgia: foods that make Britain great [online]. The Independent, Available at: http://www.independent. co.uk/life-style/food-and-drink/features/just-add-nostalgia-the-foods-that-made-britain-great-1799169.html [Accessed 4 January 2013]

WEBER, S., in WOLF, B., 2013. Big Idea: Mini Desserts [online]. QSR Magazine, Available at: http://www.qsrmagazine.com/menuinnovations/big-idea-mini-desserts [Accessed 10 January 2013]

PULLEN, J., 2012. 5 Technologies changing the restaurant industry [online]. Entrepreneur, Available at: http://www.entrepreneur.com/ article/224332 [Accessed 16 January 2013] RAMSDEN, J., 2011. Eating with our eyes [online]. Guardian. Available at: http://www.guardian.co.uk/lifeandstyle/wordofmouth/2011/ jan/28/food-multi-sensory [Accessed 13 January 2013] REED, D., 2006. The human sweet tooth [online]. BMC oral health, Available at: http://www.ncbi.nlm.nih.gov/pubmed/16934118 [Accessed 20 December 2012] ROHRER, F., 2008. Sweet sweets nostalgia [online] BBC News, Available at: http://news.bbc.co.uk/1/hi/7423087.stm [Accessed 23 December 2012]

WILSON, S., 2006. Sweet Idea: Dessert only Restaurants [online]. Entrepreneur, Available at: http://www.entrepreneur.com/ article/171018 [Accessed 28 December 2012] WGSN CREATIVE TEAM., 2012. Sensory [online] WGSN. Availble at http://wgsn.com [Acessed 25 November 2012] WOLF, B., 2013. Big Idea: Mini Desserts [online]. QSR Magazine, Available at: http://www.qsrmagazine.com/menu-innovations/bigidea-mini-desserts [Accessed 10 January 2013] WONG, J., 2012. Perfection in Imperfection [online]. Perfection In Imperfection. Available at: http://www.perfectioninimperfection.com [Accessed 26 January 2013]. WRITE, S., 2012. Ultra Violet [online].Timeout Shanghai. Availible at: http://www.timeoutshanghai.com/venue/Restaurants__CafesEuropean-French/6008/Ultraviolet.html [Accessed 20 January 2013]

SCENT AUSTRAILIA,. 2011. Multisensory Branding [online]. Scent Austrailia, Available at: http://www.scentaustralia.com.au/services/ multisensory-branding.html [Accessed 14 January 2013] SMALL, D., 2008. How does the way food looks or its smell influence taste? [online]. Scientific America, Available at: http://www. scientificamerican.com/article.cfm?id=experts-how-does-sight-smell-affect-taste [Accessed 25 January 2013]

Books

SMELL AND TASTE., 2012. Research [online]. Smell and Taste, Available at: http://www.smellandtaste.org [Accessed 23 December 2012]

COUNIHAN, C., and ESTERIK, V., 1997. Food and Culture. 1st ed. NewYork: Routledge

EVANS, M., JAMAL, A., and FOXALL, G., 2009. Consumer Behavior. Wiley: Wiley and Sons publications

SPENCE, C., in DERBYSHIRE, D., 2002. Modern life can make us take leave over our senses [online]. The Telegraph, Available at: http:// www.telegraph.co.uk/science/science-news/3294993/Modern-life-can-make-us-take-leave-of-our-senses.html [Accessed 15 January 2013]

MATHER, G., 2011. Foundations of sensation and perception. 2nd ed. NewYork: Psychology Press Ltd

KRONDL. M., 2012. Sweet Invention: A History of Dessert. 1st ed. USA: Chicago Review Press.

RICHARDSON, T., 2004. Sweets: A History of Temptation. New ed. UK: Bantam

SSR, B., 2011. Sensory Branding [online]. Slideshare, Available at: http://www.slideshare.net/RbkAsr/sensory-branding-102 [Accessed 13 December 2012] STILL, B., 2012. Super K Sonic Booooum [online]. Nelly Ben, Available at: http://www.nellyben.com/projects/super-k-sonic-booooum2-gold/ [Accessed 3 December]

101

102

Blogs

Telephone Interview

BELCEN, A., 2012. Chandler Burr’s Scent Dinner. AnOther [online blog]. 14 November. Available at: http://www.anothermag.com/ current/view/1548/Chandler_Burrs_Scent_Dinner [Accessed 27 Decmber 2012]

GAYE, M., 2013. Food Futurologist: Interveiw with Hannah Wilkinson, UK, 25 January.

CARTER, L., 2012. Entralled by Heston Blumenthal. Appliances online blog [online blog]. 4 May. Available at: http://www. appliancesonlineblog.com.au/cooking/enthralled-by-heston-blumenthal/ [Accessed 28 December 2012]

SPENCE, C., 2013. Professor at Oxford University: Interview with Hannah Wilkinson, UK, 15 January.

CLEMONS, R., 2011. Food Nostalgia. Choice. [online blog] 22 August. Available at: http://www.choice.com.au/blog/2012/august/ food%20nostalgia.aspx [Accessed 13 December 2012]

Films

JULI., 2011. Can sweets make you sweeter?. Psych your mind [online blog]. 2 November. Available at: http://psych-your-mind.blogspot. co.uk/2011/11/can-sweets-make-you-sweeter.html [Accessed 13 December 2012]

Willy Wonka, 1964. [Film]. USA: David L. Wolper Productions. [Directed by Mel Stuart.]

LOH, J., 2010. Colibri Café. J Loh [online blog]. 22 Sept. Available at: http://julianaloh.com/site/2010/09/colibri-cafe/ [Accessed 25 November 2012] MISHIMA, L., 2012. Spun honey by food for thought. Look.Listen.Smell.Eat [online blog]. 16 April. Available at: http://www. looklistensmelleat.com/search/label/Eating%20Experience%20Design [Accessed 14 December 2012] MJLALANDE., 2010. Apple expands the customer brand experience. Your Studio [online blog]. 10 August. Available at: http://www. weareyourstudio.com/apple-takes-the-retail-sector-by-a-storm/ [Accessed 23 December 2012] NOURISHING THE SOUL., 2011. Why you should really eat dessert. Nourishing the soul [online blog]. 25 May. Available at: http://www. nourishing-the-soul.com/2011/05/why-you-should-really-eat-dessert/ [Accessed 28 Decmber 2012] OLFACTORIALIST,. 2012. Scent DInnr with Chandlre Burr. Olfactoralist [online blog]. 12 September. Available at: http://www. olfactorialist.com/?p=2262 [Accessed 17 January 2013] ROUILLON, M., 2012. Daily Haptics. Marie Rouillon material designer [online blog]. 6 March. Available at: http://marierouillon. com/2012/03/06/daily-haptics-2/ [Accessed 20 December 2012]

Tv NIGEL, S., Life is Sweets, 2011. [TV] BBC Four, 5 November 2011.

Thesis/Dissertaion SPENCE, C., 2011. Sensory incongruity in the food and beverage sector: Art, science, and commercialization. PH.D. thesis, University of Oxford

Radio The Science of taste, 2012 [Radio] BBC Radio 4, 13 August 2012

SCIENTIFIC CHICAGO., 2013. How we taste with our eyes. Scientific Chicago [online blog]. 3 January. Available at: http://scientificchicago. com/2013/01/03/how-we-taste-with-our-eyes/ [Accessed 16 January 2013] SOMASEGARS., 2009. Microsoft BizSpark. Somasegars blog [online blog]. 20 June. Available at: http://blogs.msdn.com/b/somasegar/ archive/2009/06/19/microsoft-bizspark-serving-15-000-startups-and-counting.aspx [Accessed 23 December 2012] SOUNDLOUNGE BLOG., 2011. 6 ways music can effect your dining experience. Soundloungeblog [online blog]. 29 January. Available at: http://soundloungeblog.wordpress.com/2011/06/29/6-ways-music-can-effect-your-dining-experience/ [Accessed 13 Novembr 2012]

Journal INTERNATIONAL JOURNALOF OBESITY., 2003. Effect of sensory perception of foods on appetite and food intake: a review of studies on humans. International Journal of Obesity, 27 p31-32

WONG, J., 2011. Popcorn Crème Brulee. 2am DessertBar [Online blog]. 28 January. Available at: http://www.2amdessertblog.com/ category/nostalgia/ [Accessed 23 December 2012]

Article KOTLER, in SPENCE, C., and FITZMAN, B., 2012. Dining in the dark. Vol 25 (12), Pg.3 SPENCE, C., and FITZMAN, B., 2012. Dining in the dark. Vol 25 (12), Pg.3

Reports MINTEL, 2012. Yoghurts and Desserts. [online]. Available via: Mintel [Accessed 10 January 2013]

Email Interveiw WILKINSON, H. (hannah_wilkinson6@hotmail.co.uk), 2013. Interview Questions. 23 January. Email to Jonathan McCann (Jonathan. McCann@conradhotels.com). WILKINSON, H. (hannah_wilkinson6@hotmail.co.uk), 2012. Interview Questions. 13 December. Email to Alexa Perrin (alexa@aprconsultancy.com)

103

104

Fig. 22. Unknown (2005). Child in Sweet shop [Photograph] At: http://jasmiarobinson.wordpress.com/2010/07/17 (Accessed 20 January 2013)

List of Illistrations

Fig. 23. Unknown (2012). Sweet Mix [Photograph] At: http://www.chocnfloss.co.uk/pick-n-mix-sweets.html (Accessed 9 January 2013)

Fig. 1. Jordan, M. (2012). Bompass and Parr Mercedes Drive Thru [Photograph] At: http://blog.mercedes-benz-passion.com/2012/09/ avantgarde-diaries-london-der-mercedes-drive-thru/ (Accessed 23 December 2012)

Fig. 24. Unknown, (2012) Bompas and Parr Jelly Mongers [Photograph] At: http://www.jellymongers.co.uk (Accessed 10 January 2013) Fig. 25. Unknown, (2012) Mercedes Drive Thrum[Photograph] At: http://www.jellymongers.co.uk (Accessed 10 January 2013)

Fig. 2. Unknown. (2011). Food Design Example [Photograph] At: http://wheneatingawolf.com/food-speaks/ (Accessed 23 November 2012)

Fig. 26. & 27. Tape, F. (2012) Ralph Lauren 4D Spectacle [Photograph] At: http://ftape.com/media/?p=13877 (Accessed 18 January 2013)

Fig. 3. Griotess, E. (2012). Orange Pantone Tart [Photograph] http://www.designboom.com/art/pantone-tarts-by-emilie-de-griottes/ (Accessed 13 November 2012)

Fig, 28. 29. 30 & 31. Misima, L. (2012). Lisa Misima Scented Menu [Photographs] At: http://www.looklistensmelleat.com (Accessed 1 December 2012)

Fig. 4. Unknown. (2009). Amuse Bouche Smoked Quails Egg [Photograph] At: http://www.alifewortheating.com/copenhagen/noma (Accessed 24 December 2012)

Fig. 32 & 33. Jeun, J. (2012). Taste Of Tableware [Photographs] At: http://jjhyun.com/?portfolio=tableware-as-sensorial-stimuli-2 (Accessed 10 December 2012) Fig 34. Jeun, J. (2012). Taste Of Tableware Sweet [Photographs] At: http://jjhyun.com/?portfolio=tableware-as-sensorial-stimuli-2 (Accessed 10 December 2012)

Fig. 5 Unknown. (2009). Pea Puree [Photograph] At: http://vivresimply.blogspot.co.uk/2012/01/if-ever-in-denmark.html (Accessed 14 December 2012) Fig. 6. Isagla, D. (2012) Noma Egg [Photograph] At: http://uk.phaidon.com/agenda/food/articles/2011/april/04/noma-time-andplace-in-nordic-cuisine-shortlisted-for-the-james-beard-foundation-awards/ (Accessed 13 December 2012) Fig. 7. Unknown. (2012). 2am Dessert Bar [Photograph] At: http://is.asia-city.com/restaurants/singapore-restaurantreviews/2amdessertbar (Accessed 13 November 2012) Fig. 8 & 9. Wagh, M (2012). Super Sonic K Booom [Photograph] At: http://www.orte.co.uk/sonicboom.html (Accessed 12 January 2013) Fig. 10. Unknown (2011). Experimental Food Society example [Photograph] At: http://www.foodepedia.co.uk/restaurant-news/2011/ sep/experimental_food_society_spectacular_2011.htm (Accessed 15 January 2013) Fig. 11. Unknown, (2012) Heston for Waitrose Product Range [Photograph] At: http://www.guardian.co.uk/lifeandstyle/ wordofmouth/2010/nov/01/heston-blumenthal-waitrose-products (Accessed 13 January 2013) Fig. 12. Chunk, E. (2012) Sound of The Sea [Photograph] At: http://www.chuckeats.com/2008/09/08/fat-duck-bray-uk-redux (Accessed 15 January 2013) Fig. 13 Unknown (2012). Sound of the sea in the Fat Duck [Photograph] At: http://thebigfatundertaking.wordpress. com/2010/12/06/57-sound-of-the-sea (Accessed 14 January 2013) Fig. 14. Unknown (2009). Like a Kid in a Sweet Shop [Photograph] At: http://www.chuckeats.com/2008/09/08/fat-duck-bray-ukredux (Accessed 15 January 2013) Fig. 15. Unknown (2009) Abercrombie Lighting [Photograph] At: http://www.reuters.com/article/2008/05/16/us-abercrombiefitchidUSWNAS446220080516 (Accessed 14 January 2013) Fig. 16. Unknown (2009) Abercrombie Store [Photograph] At: http://www.reuters.com/article/2008/05/16/us-abercrombiefitchidUSWNAS446220080516 (Accessed 14 January 2013) Fig. 17. Unknown (2011) Abercrombie Fierce Advert [Photograph] At: http://www.reuters.com/article/2008/05/16/usabercrombiefitch-idUSWNAS446220080516 (Accessed 14 January 2013) Fig. 18. Unknown (2011) Abercrombie Fierce Perfume[Photograph] At: http://www.parfumworld.sk/abercrombie-fitch/abercrombiefitch-fierce-cologne-m-50-ml (Accessed 14 January 2013) Fig. 19. Unknown (2012). Thompson Holiday [Photograph] At: http://www.guardian.co.uk/business/2011/aug/10/tui-profits-rise-onback-of-all-inclusive-holidays (Accessed 18 January 2013) Fig. 20. Unknown (2012). Thompson Holiday Hotel [Photograph] At: http://holidaydeals.bttradespace.com/our-galleries/our-gallery/ gallery-item?mediaId=8E5884DDCDC63BACE040BB0A472B53C4 (Accessed 18 January 2013) Fig. 21. Unknown (2011) Sugar [Photograph] At: http://www.freepik.com/free-photo/salt-pour-sugar-pouring-salt-pour_484335.htm (Accessed 14 January 2013)

105

Fig 35. Jeun, J. (2012). Taste Of Tableware Salty [Photographs] At: http://jjhyun.com/?portfolio=tableware-as-sensorial-stimuli-2 (Accessed 10 December 2012) Fig 36. Unknown (2012). Institute of Making Spoons [Photographs] At: http://www.instituteofmaking.org.uk (Accessed January 2013) Fig 37. Vogelzag, M. (2012). Mariji Vogelzang scented spoons [Photograph] At: http://www.marijevogelzang.nl/www.marijevogelzang. nl/home.html (Accessed 6 January 2013) Fig. 38. Vogelzag, M. (2012). Mariji Vogelzang Mouth watering spoons [Photgraph] At: http://www.marijevogelzang.nl/www. marijevogelzang.nl/home.html (Accessed 6 January 2013) Fig. 39. Rouillon, M. (2011). Daily Haptics Project [Photograph] At: http://www.designboom.com/design/marie-rouillon-daily-haptics (Accessed 10 December 2012) Fig. 40, 41, 42, 43 &44. . Rouillon, M. (2011). Daily Haptics Texture [Photograph] At: http://www.designboom.com/design/marierouillon-daily-haptics (Accessed 10 December 2012) Fig. 45 & 46 Karelson, H. (2012) Helena Karelson Textured Cutlery [Photograph] At: http://www.helenakarelson.com (Accessed 12 January 2013) Fig. 47 Unknown (2012) El Bulli Aroma Spoon [Photograph] At: http://faces-usa.com/elbulli.html (Accessed 18 January 2013) Fig 48. Unknown (2011) Dans Le Noir London [Photograph] At: http://www.fluxmagazine.com/index.php/culture/dans-le-noir (Accessed 20 January 2013) Fig. 49, 50 & 51 Jeun, J. (2012). Visualisation of Sweet [Photographs] At: http://jjhyun.com/?portfolio=tableware-as-sensorialstimuli-2 (Accessed 10 December 2012) Fig. 52 Unknown (2012) Philips Eye of the beholder [Photograph] At: http://www.design.philips.com/about/design/designportfolio/ design_futures/design_probes/index.page (Accessed 16 January 2013) Fig. 53 Unknown (2012) Philips Fama Plate [Photograph] At: http://www.design.philips.com/about/design/designportfolio/design_ futures/design_probes/index.page (Accessed 16 January 2013) Fig. 54 Unknown (2012) Philips Eclipse Bowl [Photograph] At: http://www.design.philips.com/about/design/designportfolio/design_ futures/design_probes/index.page (Accessed 16 January 2013) Fig. 55 Kee, E, (20120. Burberry Flagship store London [Photograph] At: http://www.ubergizmo.com/2012/09/burberry-londonflagship-store-gets-digital-makeover (Accessed 19 January 2013) Fig. 56. Unknown (2012) Inamo London Interactive Touch Screen table [Photograph] At: http://www.dezeen.com/2008/11/27/inamorestaurant-by-blacksheep (Accessed 18 January 2013) Fig. 57. Unknown (2012) Inamo London Interactive Restaurant [Photograph] At: http://www.dezeen.com/2008/11/27/inamorestaurant-by-blacksheep (Accessed 18 January 2013)

106

Fig. 58. Unknown (2012) Inamo Sign [Photograph] At: http://www.constructionweekonline.com/article-4057-future-projections (Accessed 19 January 2013) Fig. 59. Goff (2012) Dunkjestives [Photograph] At: http://www.thesun.co.uk/sol/homepage/tvmagazine/tvmagazinefeatures/4617938/ The-vast-supper-Heston-Blumenthal-creates-huge-feasts-for-his-Fantastical-Food-series.html (Accessed 20 January 2013) Fig. 60. Goff (2012) Heston and His Fantastical Food [Photograph] At: http://www.thesun.co.uk/sol/homepage/tvmagazine/tvmagazinefeatures/4617938/The-vast-supper-Heston-Blumenthal-creates-huge-feasts-for-his-Fantastical-Food-series.html (Accessed 20 January 2013) Fig. 61 & 62 Unknown (2011) Nigel Slater Life is sweets [Photograph] At: http://www.bbc.co.uk/programmes/galleries/p010lrxz (Accessed 26 January 2013) Fig. 63& 64 Unknown (2012). Colibri CafĂŠ Beijing [Photograph] At: http://renaissancebeijing.net/colibri-cafe (Accessed 24 January 2013) Fig. 65&66 Unknown (2012). Miniature Gourmet Desserts [Photograph] At: http://www.nomadparis.com (Accessed 27 January 2013) Fig. 67, 68, & 69 Unknown (2012). Pierre Francois Roelofs Dessert [Photograph] At: http://www.pierreroelofs.com/dessert-evenings (Accessed 7 January 2013) Fig. 70. Unknown (2012). Restaurant Interior [Photograph] At: http://Pinterest.com (Accessed 28 January 2013) Fig. 71. Unknown (2012). Dessert [Photograph] At: http://www.nomadparis.com (Accessed 27 January 2013) Fig 72. Wilkinson H. (2013) Dessert Moodboard [Photo Montage of images] (Accessed 29 January 2013) Fig 73. Wilkinson H. (2013) Interior Moodboard [Photo Montage of images] (Accessed 29 January 2013) Fig 74 Wilkinson H. (2013) Restaurant Technology Moodboard [Photo Montage of images] (Accessed 29 January 2013) Fig. 75& 76 Huang, E. (2012) Ultra Violet Restaurant Interior [Photograph] At: http://thecreatorsproject.com/en-uk/blog/ultravioletis-a-shanghai-restaurant-that-feeds-all-five-senses (Accessed 16 January 2013)

Appendix

107

108

Me: I do yes

Appendix 1 Telephone Interveiw with Morgaine Gaye

Me: Can I get your consent that it is aright to quote you in any of my work Morgaine: Yes that’s absolutely fine Me: Ok just ten Questions I’ll start with the first one, Do you think the future of dining is changing due to advancements in technology and food designers? Morgaine: I think that we have always really had technology obviously very different there’s the cooker that technology its just obviously very different. So of course we re always advancing everything is always looking to make something better or make some new, but I don’t really think that what necessarily drives the future of dining, I think there is many more factors than that. You have to look at things like the environment, politics, what’s happening around the world. Also just about a trend really what people are wanting so it was really exciting to have your lunch on your knee or put something in the microwave so something that too two hour to make can suddenly take 20 seconds. That was exciting at the time but now of course its like a FAD were always going through those phases so I don’t really think that the future is changing because of the advancements in technology or food designer I mean they’ve always been there. But I think its all, there part on an equation so they are part of that equation Me: Ok great Question 2, Food design is becoming much more apparent in todays culinary culture. Do you have any food designers that you admire or are wowed by? Morgaine: What do you mean by food designers ME: Just Heston or Maiji Vogelzang that do some crazy things with food Morgaine: OK erm ooo, the thing is because we have the internet we have much more interest in food there has been a lot more interest in food the fact you are writing about it, three years ago at Nottingham nobody was interested in writing about food , So now you have a whole group of you writing about food, so its become much more of an interesting subject for a lot of people who arnt in the food world, But the sort of thing that Heston does that’s actually nothing new in fact its very old, in fact its really old were talking about 100 years. But its because he’s doing it its bought it to the for front. So the idea of molecular gastronomy in some ways those two words do not make sense together but its just all a fad. Its clever marketing more stuff. Hmm am I wowed by food designers? I see it more as a bit of a mix between celebrity cheffing and a little bit erm pomp and ceremony and all mouth and no trousers! So you know you all want to go ‘that’s amazing’ but actually when you come to eat foam it’s a little bit erm…. Me: Bland Morgaine: Yes a bit of a let down, because it is just nothing in your mouth. Now I don’t really no if food designers . I mean there is all sorts of people that are interesting Blanch and Shot of course Andrew a Stella Atarno who I have worked with a lot because he is making art with food or creating, I think there is a lot of people doing that. But I thinks its more of an art form rather than designing food per say. Me: Ok that’s great, do you know of or been to any experiential dining events/restaurant? If so how did you find it? Morgaine: Yea I mean I am am part of the experimental food society I don’t know if you know about that?

109

Morgaine: People always want experience ther’re all about experiential moment really, every year we have to have the banquet and erm its always experiential so there is lots of things happening where they might, erm I mean lots of thing going on at the same time painting people body’s with food erm eating food making cakes that look incredible food like stuffed crackling pigs. Erm they make bread out of stuff like raymeres ants and they do lots of different thing you know. Your are part of a journey I suppose of the meal so that you move into different rooms for different courses. There is so many different thing involved with that. I mean the other thing is a person did some thing really interesting is Rachael Khoo and she, I mean she has been incredibly lucky gosh she did an art degree hear then went over to Paris and trained as a chef , had a tiny little flat and started doing dinners form her tiny little Parisian kitchen. And it was picked up by the TV. So from there she actually did something on her website you can see they did some really interesting experiential dining event around the world so they did some thing like immigrants tails in Australia and they served food in wool from a sheep really lovely lovely thing really cool things like a thing called string with knives which was really great. Have a look at her stuff. I mean it depends on what you mean by experiential I mean some times for example like last night actually the last couple nights I have been to places that could be considered experiential I mean it depends on what we are use to. To think about an experience you have started from the very beginning you at this place last night we walk past a giant fish tank massive im talking about the size of the front of Waverly. Experience starts on the street almost. I think it depends on what you mean by experience but I think we are going to see that more and more> its been going on a long time I think its case of it being an experience because it is not what we are use to. Me: Right ok question 4, a strategic outcome for my report would be to create a dessert only restaurant that excites all of a consumers senses, whether it be the look of the desserts, what they eat them off, the smells surrounding them etc. I want to bring consumers to a place of wonder, I like to think of it as a grown up version of Willy Wonka to put it very broadly! Would this be something you would be interested in or likely to go to? Morgaine: I think people would love it, People go out to eat for the food, but also to be entertained. I think this trend is all about putting on a show on or around the table, I mean I have been to some thing similar in new york about 15 years ago called café I think it was called Mozart actually and that only served desserts and I held a dessert only party once and of course everybody loves it because they are a bog kid really. I guess the only ting you would have to think about in that would be hard to have a lot of repeat business but I think it would be really wonderful beautiful and exciting smells and sounds and of course desserts are visual and beautiful themselves anyway . It great because we are always going to want decadence and luxury but remember we are going into a trend of health and luxury for us is changing. Me: Ok right, do you ever feel a sense of nostalgia when you eat a certain dessert/sweet or are there any flavors that remind you of a past time? Morgaine: I think bubblegum is something that, a couple of interesting things about bubble bum actually bubble gum is definitely something we don’t have the taste of anymore Me: Oh right how come? Morgaine: we think or you know what I mean by that taste but we tell me the last time you tasted that? So that use to be a huge flavor not just because there was lots of bubble gum but like bubble gum flavored slush puppies everything was bubblegum flavor because that was the flavor of the moment so I think that’s a real retro taste. I think that for me violet or lavender that feels like an old taste rose flavoured floral flavoured things. I think there are a lot of desserts that conjure up a time when you were a child. Bubble gum is actually one of the two flavours as a smell that’s the most highly identifiable out of every smell so there is only two one is bubble gum and one is licorice and it is a high percentage 80 plus percent of people when they smell it know exactly what it is. Now that does happen with something like apple because the smell is synthetic like what we get in cleaning products. Me: wow ok , scientific research has proven that the scenario surrounding what we eat can perceive how we taste and enjoy our meal to what extent do you agree with this? Morgaine: 100 percent so as we no my work and loads of scientific research and my work with prof. Charles Spence I am working wit him on a project in September called the last Sunday roast. So you will see that nearer the time. So yes I completely agree with that. Me: Ok great, dessert only places have become a creative conceptual space in parts of Asia recently. Is this something you can see catching on in the UK? 110

Morgaine: Yea I can see why not, I mean absolutely I mean things like duking donuts isn’t it, it only sells donuts but people love it. I mean it actually exists. You have to be careful how you define your terms so what exactly it is your selling and they are not. Me: Ok right, are there any food trends within sweets or desserts that you know of?

Consent

Morgaine: ooooh gosh I think sweets that have a multi functional purpose you know sweets that make your boobs bigger or skin better or collagen type things. I think there’s an increase in meat desserts meaty desserts yes. I think desserts with flowers in them real flowers. Its experiential desserts really where you have to paly with texture , definitely texture, crispy crunchy, silky many textures I think that’s a big thing. Yes so I think there a lots of places marzipan can go I think smoke flavor charcoal flavor tobacco flavor that sort of thing. Me: ok great question nine, do you know of any brands, restaurants, shops that are interacting with consumers senses? Morgaine: goss it think a lot of them are now a lot of clothes stores I have a sneaking feeling H and M are doing some kind of scent branding and its horrible. I think restaurants are interacting with senses from the moment you walk in like I said . I mean you would be surprised at how many brands have been embedding scent for a long time like Nescafé coffee. But yes lots of brands have been doing it for decades. Me: ok and Finally what is next for you? Morgaine: Wow can you be a bit more specific? Me: ok what’s next for you in the next few months what is your next project coming up that your are able to tell me about? Morgaine: Some of them I never really no myself I just turn up and am then told what the brand is ! My life is a secret to me as it is anyone else ! Ok so what’s coming up I’m currently writing a big trend document about the science of lunch for Kings mill bread so a bread report for them then that will lead to bites of things they want to publish in the press, then ill go on loose woman apparently. I think ill do a morning breakfast thing or something that’s March. Erm I’m working with dajio they have a whisky brand called Singletone fairly new. I came with a concept that it isn’t just for old men in slippers, so I’m going to take it to the female market, so I’m going to Taiwan to change the face of whisky basically ! Me: Busy year then Morgaine : Yes Very Me: well great thank you for talking to me you’ve been a huge help Morgaine: Ok Hannah great Me: well thanks again bye, bye Morgaine: that’s ok Bye

111

112

3. Do you think what the members of the experimental food society create has an impact on consumers experience or could they gain this from an ordinary restaurant/ordinary looking food? The Experimental Food Society members are very much pioneers but their achievements can be seen and are utilised throughout the food industry. EFS member Professor Charles Spence (Head of Cross Modal Laboratory at Oxford University) for instance works with global food industries and chefs around the world, utilising his experimental research findings to make food a more multi sensory experience. His research is used and funded by projects for household brands such as Pringles (see here for details) - http://www.bodyinmind.org/sound-bites-foods-that-sound-better-taste-better/ (Just one of the many projects he has worked on). Additionally various worldwide restaurants utiise his research findings to make their dining experience more pleasurable, further pleasuring the senses of their diners. The work of the Experimental Food Society very much filters into the mainstream consumer experience.

Appendix 2 Email Interveiw with Alexa Perrin

4. Do you know of or been to any experiential dining events/restaurant? If so how did you find it? As mentioned above I curate monthly guest chef residencies at House of Wolf, a place of experimental dining, drinking and entertainment based on Upper Street in London. Additionally the Experimental Food Society has an annual banquet as part of the Experimental Food Society Spectacular. I am however so busy I never get to go to enough! In response to your questions: Research questions 1. Why did you decide to create the Experimental food society? I am passionate about food in general. I grew up in a family of foodies. My uncle was one of the first people to bring Thai restaurants to the UK in the early 80’s and I spent much time in his restaurants buying exotic food stuffs, helping in the kitchen and sampling different foods. My mother used to bake cakes for local businesses and I would sometimes also help her. My interest in food and drink has simply developed over the years. I founded a PR agency five years ago that specialises in food, drink and cultural events and have since worked with brands such as Willie’s World Class Cacao, Borough Market, Bulldog Gin, East Street and House of Wolf. With House of Wolf, a place of experimental dining, drinking and entertainment located on Upper Street, Islington, I manage all PR on behalf of the brand and curate the monthly dining experiences in their restaurant. I also head up the New Business & PR department at ‘i-am’ associates, an international brand experience agency which works across various sectors such as international banking and education to name a few but in terms of the restaurant sector has worked across brands such as Itsu, Chilango’s, Comptoir Libernais and VQ. So my work with food is fairly broad and diverse. A variety of situations and reasons led me to setting up the Experimental Food Society in late 2009 but at the forefront was a desire to revive and champion the food arts in the UK, offer a platform to the incredible talent here, inspire others to follow a career path in this area and to excite everyone with some truly exciting happenings in the food industry. 2. Food design is becoming much more apparent in today’s culinary culture. Do you have any food designers that you admire or are wowed by? Food artistry has indeed seen a revival in today’s culture but it not new, it was simply lost to consumerism and wars. Just look at Careme, Giuseppe Arcimboldo or Escoffier to see how food artistry has been utilised in the past to glorious effect and all of these people have inspired the food artists of today. The Experimental Food Society currently has 56 members and each wow’s me with their unique talents. Broadly skilled and high in calibre most have carved out their own job titles and overcome hurdles to get there. Members include Food Landscape Artist Carl Warner who creates and makes extraordinary landscapes entirely out of food and photographs them, Bread Sculptor Sharon Baker who creates incredibly lifelike sculptures in bread, Sugar Designer Fernando Laposse who creates stunning glasses and lamps out of sugar, replacing glass as a material and Gastronomic Tailor Emily Crane who utilises molecular food techniques in her laboratory to create entirely edible clothing. Just some of the unique talents within the society. Its also worth nothing that whilst some Experimental Food Society members reinvent traditional methods for the 21st century others pioneer entirely new methods. For an example of the reinvention of traditional methods with entirely new ones you need look no further than jellymongers and foodsmiths Bompas & Parr who have taken jelly making to the 21st century with the introduction of modern technology (CAD designed jelly moulds). 113

5. A strategic outcome for my report would be to create a dessert only restaurant that excites all of a consumers senses, whether it be the look of the desserts, what they eat them off, the smells surrounding them etc. I want to bring consumers to a place of wonder, I like to think of it as a grown up version of Willy Wonka to put it very broadly! Would this be something you would be interested in or likely to go to? Of course! What are your timings on this and where do you plan to host it? I would be interested to find out more. 6. Do you ever feel a sense of nostalgia when you eat a certain dessert/sweet or are there any flavors that remind you of a past time? I went to boarding school, where you ate what you are given and couldn’t leave anything on the plate. Food was often absolutely appalling and so I would say that nostalgic flavour recollection is not always a good thing! It also has a profound affect on your senses. For instance if you place a bowl of rice pudding in front of me, it might have been prepared with fresh cream and made much more tasty that any boarding school offering but the taste memory of the boarding school experience triggers instant disgust and stops me from truly enjoying it. A plate of exotic fruits however excite me greatly – probably because I was brought up with exotic Asian fruits in abundance and my mother always used to make me a giant fruit salad when I was ill. Lychees, Rambutans, Longans and little Thai banana’s remind me of my childhood and always please me. Nostalgic flavour recollection is an interesting area. Deserts like Christmas pudding obviously have a strong sense of nostalgia and are bound by all sorts of cultural, religious and family related significances. Some people don’t like Christmas pudding but eat it anyway because it symbolises Christmas. Sometimes the nostalgia or significance of eating a pudding means more than the flavour. 7. Scientific research has proven that the scenario surrounding what we eat can perceive how we taste and enjoy our meal to what extent do you agree with this? Dining is a multisensory experience and so every aspect that contributes to it, affects the way we taste the food and enjoy our meal. Look at this link to see some of the research undertaken by Professor Charles Spence in this area - http://www.tutor2u. net/blog/index.php/economics/comments/behavioural-economics-bittersweet-symphony-the-psychology-of-food 8. Dessert only places have become a creative conceptual space in parts of Asia recently. Is this something you can see catching on in the UK? They are also prevalent in the US -(for instance - http://www.yelp.co.uk/biz/rice-to-riches-new-york/ http://www. chikalicious.com/) The UK does have some eateries dedicated to the desert – for instance http://www.squaremeal.co.uk/restaurants/london/ view/104074/William_Curley_Dessert_Bar/ or http://wearemadd.com/ but in general they are low on the ground. Britain has a rich history of pudding making and whilst you can experience delicious puddings at various eateries across the country I think its surprising that there aren’t more eateries dedicated to the dessert. There should be and I think it is something that will catch on in the UK in the same way that you see bubble tea lounges/cupcake shops/doughnut shops are emerging in the UK. 10. Finally what is next for you? In terms of the Experimental Food Society – it is active throughout the year with various commissions. Whether creating a giant picnic for an ad campaign for UK TV Food or building a large scale candyland landscape for a private birthday party we are kept pretty busy. Additionally, planning stages for next years Experimental Food Society Spectacular. Can I see a copy of your dissertation once completed? It would be really interesting. 114

Consent

Appendix 3 Email Interview with Jonathan Mcann

1.How important do you feel is food design/Food layout? Food design/layout. It is important because it is what draws you in to the product, either in a plate, a buffet, or an outlet the more attractive the food looks, the more interest the consumer will show and be drawn into the experience. 2. Food design is becoming much more apparent in todays culinary culture. (Heston Blumenthal, El Bulli restaurant) Do you have any food designers that you admire or are wowed by their work? Food designers that I admire. - Ducasse because of his simplicity. I personally do not like over complex dishes 3. What do you think of Molecular Gastronomy have you ever used it in any of your food? Molecular gastronomy. - it is a bit of “smoke and mirrors”, it has its place in cooking, but for me I believe the food must stand up for itself without props and again 4. Do you know of or been to any experiential dining events/restaurant? If so how did you find it? If not what has been your most memorable? Experimental dining places. - I haven’t been to any 5. A strategic outcome for my report would be to create a dessert only restaurant that excites all of a consumers senses, whether it be the look of the desserts, what they eat them off, the smells surrounding them etc. I want to bring consumers to a place of wonder, I like to think of it as a grown up version of Willy Wonka to put it very broadly! Would this be something you would be interested in or likely to go to or do you no of any similar places? Dessert only restaurant.- it sounds like a fun and interesting idea, but in reality it will be challenging to maintain a business that limits itself that much 6. Do you ever feel a sense of nostalgia when you eat a certain dessert/sweet or are there any flavors that remind you of a past time? Sense of nostalgia.- food is all about memories. A meal is not only about the taste, the flavor...it is about memories, bringing people together, the experience, the company 7. Scientific research has proven that the scenario surrounding what we eat can perceive how we taste and enjoy our meal to what extent do you agree with this? I totally agree with that. A great meal can be ruined by bad company, by poor service or poor ambiance. It is not just about the food, dining out or even eating at home. it is a very “social experience” dating back to where cave men seat around the fire to eat…. 8. Dessert only restaurants have become popular in parts of Asia recently. Is this something you can see catching on in the UK? I personally think that the logistics and the climate and the way cities in the UK are laid out stops it. It is too inconvenient for people to have dinner at one place and move to another place, unless it is on the same street. 115

116

9. Are you aware of any places in the USA currently doing this successfully already? No

Consent

10. Finally what is next for you? I would like to be part of the Corporate Culinary team on a full time basis to be able to share my knowledge and experience with cooks and develop the business to the next level

117

118

Appendix 4

8. An outcome for my report would be to create a dessert only restaurant that excites all of a consumers senses, whether it be the look of the desserts, what they eat them off, the smells surrounding them etc. I want to bring consumers to a place of wonder, I like to think of it as a grown up version of Willy Wonka to put it very broadly! Would this be something you would be interested in or likely to go to?

E-mail Interveiw with Helena Karelson

Why not. 9. Do you ever feel a sense of nostalgia when you eat a certain dessert/sweet or are there any flavors that remind you of a past time? Yes, for example condensed milk. Every time I even smell it, it brings back so many memories.

.What was your inspiration behind the making of your project ‘Lost Leather cutlery’? After researching into investment casting and understanding that any organic material can be burned out the same way that wax can be, I was fascinated that I can use soft, even discarded materials and turn them into functional objects and still retain the perception of softness. I started to research which are the best materials and applications. Very soon I thought of tactile handles and that lead me to design unusual tactile cutlery. The materials I used at the end, such as leather and cork, were selected carefully, besides suitable texture, they had to have a right thickness and once folded they needed to form perfectly the scoop of the spoon and fork. I chose leather mainly because of its nice recognisable texture that felt really good in hand and mouth. I chose cork because of curiosity of people’s perception of materials and if they they would recognise the texture once transformed into metal and also researching the process of investment casting further and seeing how much detail it can pick up. I also experimented with canvas, felt, textured paper. I also intended to investigate how the texture adds to the experience of eating.

10.Finally what is next for you? Some more tactile projects, not food related unfortunately.

2. Do you think what we eat off can change the taste or perception of food? I am still not sure about the taste, but I think it definitely changes the perception and experience! I think that besides feeling the texture of food in your mouth, there is an added sense of tactile feeling in your hands and also the perception of softness. I also think the textures make you notice how and what you are eating more. There is a strong connection between the cutlery and food you are eating, as I am using animal skin (as one material) in the process of making cutlery. 3.Are there any other things you think would change the way we taste or have any projects you are working on ? Eg Smell, Colours, What we eat off etc. Unfortunatly not at the moment no. 4. The food industry is changing for example food design is becoming bigger with molecular gastronomy, technology in restaurants is appearing. Do you think in the future what we eat off will change also? In my opinion it will. Some restaurants will change what we eat off, not only to add something to the experience of eating but also to make themselves different from competitors. 5. Do you know of or been to any experiential dining events/restaurant? If so how did you find it? Unfortunately I haven’t been to any.There is quite a few dining places where you can eat in pitch dark and quite a few food designers have organised different events (Marije Vogelzang). 6. Do you feel your senses play a big part in dining? Yes, definitely. Think of a very smelly cheese, for example. Many people will not eat it, not because they do not like the taste of the cheese, but they can’t bear the smell of it, and it is the smell that makes it seem not tasty and unattractive. Also the texture of the food itself, the look/shape of the food, the lighting of an atmosphere, the sound, it all affects. 7. Do you no of any food designers or designers like yourself who experiment with any objects related to eating that inspire you? Marije Vogelzang, Arabeschi di Latte 119

120

Consent

Appendix 5 Telephone Interveiw with Prof Charles Spence Me: Hi good morning its Hannah Charles: Hello Me: Ok you ready for a few question Charles: mmhmm fire away Me: Ok A strategic outcome for my report would be to create a dessert only restaurant that excites all of a consumers senses, whether it be the look of the desserts, what they eat them off, the smells surrounding them etc. I want to bring consumers to a place of wonder, I like to think of it as a grown up version of Willy Wonka to put it very broadly! Would this be something you would be interested in or likely to go to? Charles: We did have a starters and desserts only restaurant actually in oxford a few years ago erm which didn’t a last in the end unfortunately. I think dessert only restaurants would appeal more to women maybe. That’s just my gut feling that men might be less interested and woman would enjoy more. Erm The wonder and oar of Willy Wonka theres a slight over lap with Heston Blumenthal’s idea of taking kids back to the sweet shop and your childhood. Erm I suppose if it was Willy Wonka rather than stories from child. Me: Ok from research certain flavors bring back memories, particularly sweet ones. Do you ever feel a sense of nostalgia when you eat a certain dessert/sweet or are there any flavors that remind you of a past time? Charles: Errrmm hmmm, I’m not sure whether the first bit is entirely true whether it is just sweet things that take you back more than other stuff but it could be. For me it would be half penny sweets a little box of them with things like erm, refreshers and all kind of sweet little black jacks. That would be my thing. But I do see them on occasion now in retro stores. If it was more proper foods prepared meals well not any more because its all from packets (laughs). Me: Ha ok question number three how important is it that you engage more than one sense while you eat, does this have an effect on what you are eating? Charles : Erm so probably what actually whatever we eat we use more than once sense we just probably don’t realise it. Some people would say ‘oh this taste like this it that’ but tis just gustation on the tongue taste. But in fact we all get the smell as well from the back of the mouth so. Im just about to do some tests with Coca-Cola to see if they are given pure tastes. So yes taste is already multi sensory. Texture is also important you cant have a food with out texture and unless you are dining in the dark your brain will always see it and have an idea about what you are eating from your sight. I see more chefs now especially in Spain talking about designing and cooking for the five senses. As consumer maybe more senses come in you might not necessarily come away thinking wow that was a really multi sensory experience you may just come away saying that was a great taste of flavor. Me: Ok next What has been your favorite sensory dining experience if you have been to any? And if so why was it so memorable? Charles : So well obviously the sound of the sea I think partly because of my involvement and partly the way it changes the way people dine. I think its one of the first use of futuristic technology at the table. Its only an IPod ok but its still digital technology to change the experience and I imagine there will be a lot more of that in the years to come. Erm and other memorable ones that sticks out for me was about a decade ago when a waitress came up and said ‘open wide’ and sticks a spoon in your mouth that was very psychological as it takes you back to childhood as you are not feeding yourself. Very simple manipulation has a very powerful psychological effect

121

122

Me: Ok is that everything that is all of my questions! Me: Ok good next question. Interacting with food and sensory dining has become popular recently with celebrity chefs such as Heston and The Experimental food society. Is this something you can see catching on in the UK a lot more?

Charles: Yes yes that’s all

Charles: Erm absolutely you can see the house of Wolf restaurant opened in London which might be another multi sensory dining place. I see it a lot in bars kind of molecular mixology, a molecular ice cream and who knows before long molecular fudge very possible! I see it now a continuing of new stories and interests. We see Heston winning over Delia with Waitrose! Also there is always technology in the back of kitchens I can see it more being taken forward into the front of house on the table top, seen bits and pieces already.

Me: Ok thank you so much for talking to me it is very much appreciated

Me: Are there any other people or groups you feel who are pushing the boundaries of food design or perception that you have worked with or are inspired by?

Charles: Bye!

Charles: ok great that’s fine Me: ok bye

Charles: Erm so obviously El Bulli kitchen in Spain, a lot of the chefs in Spain they seem to be doing well as a nation lots of young chefs collaborating together working together inspiring each other. In Prague a few weeks ago Philips company has been designing futuristic bowls with lights fans and smells in them and Arzak is using it in his restaurant. Alinea in Chicago another one that pops up a lot. Also paco ronzalez in Madrid. Has a very well funded science lab / restaurant. Me: Ok cool next question, in your opinion what is the future of dining. Do you think it will be possible to go for a standard meal with out something being sensory? Charles: Certainly it will be a slow movement there sill still be going home grown local places though. It would just be an addition to the market and maybe at the moment in London if you want to have the formal modern cuisine your talk hundreds of pounds where as if you go to Spain you have the modern taps bars where things are much cheaper and you can try little bits and pieces. Me: Ok Sight is said to be one of our strongest senses (depending on how well we see of course) so how important is food design? Does our perception of a meal change depending on how it is served? Charles: Erm definitely yes erm in away chef might say we know that already that the thing over the cooking and the ingredients that layout on the plate is important. Erm we can then add to that and say well the colour of the plate shape of the plate also has impact as well as the layout. There’s one nice paper written by Deborah Velmon putting food into a very boring arrangement then a more artist one makes a difference. And the chefs at Charles Michelle were about to do some interesting food experiment that look like paintings. So painting you can eat with fruits and vegetables and reductions. Me: Apart from dining where else can you see this idea of engaging more of the consumers senses going e.g. Super markets, shops etc. Charles: Erm everywhere, So you will go through magazines you will see lots of them talking about everything from shampoos to kitchens to chocolate bars to golf holidays Indulge your senses excite your senses stimulate your senses reinvigorate your senses, It’s a very popular marketing message. Erm holiday Scotland had an excite your senses campaign a couple of years ago that had five senses stimulates other countries doing it are Greece. As a message its kind of everywhere, whether people talk about doing it or actually doing it is another question. Or whether its just a trend like everything is. I see it everywhere basically! (Laughs) Me: Ok last question What is next for you? Charles: Much all of the same! (Laughs) erm what id really like to do is erm start putting technology in a few things like what would happen if you turned a tablet technology into a plate? You know that shocking at all levels as that is not what tablet computers are for but can you build up a story about why that would be a good thing like why it might enhance the taste why it might be necessary. The other one would be to try and erm each diner if you think has there own specific drink or food in a bar or restaurant each time so some generalized music or atmosphere where how you could deliver to an individual diner or drinker there own sensory mix erm is kind of an interesting challenge. So whether that is through hyper directional speakers or glasses that make a sound when you put them to your lips erm not sure yet! But that kind of individualised delivery of multisensory experiences is probably facilitated through technology is what we are thinking about a lot. Erm and this whole thing of putting people in a place they don’t know ‘is it a restaurant?’ ‘is it at science lab?’ ‘is it a magic show’? ‘is it a performance’ just breaking the boundaries the way in which one eats food

123

124

Consent

I understand that my participation is voluntary, and that I am free to x withdraw at any time without giving any reason and without any implications for my legal rights

I give permission for the interview to be recorded by research staff, on the x understanding that the tape will be destroyed at the end of the project

I agree to take part in this project

125

I give permission for the interview to be recorded by research staff, on the x understanding that the tape will be destroyed at the end of the project

Prof Spence 14/01/2013 ___________________ __________ __________________ Name of respondent Date Signature For office use only Name of researcher taking consent …………………………………………. Date ……………………………………… Signature

I understand that my participation is voluntary, and that I am free to x withdraw at any time without giving any reason and without any implications for my legal rights

I agree to take part in this project

Appendix 6 Photograph Research A series of photographs were shown in pairs to 100 radom poeple at different times. The research was done by asking 15-20 people a day untill 100 was reached. 100 was chosen as its an appropiate number to gain sufficient data. The pairs of photographs are shown here. One is a dessert made using molecular gastronomy and the other an ordinary dessert. The test was carried out to see what people were more drawn to to try. This test was to prove that people find molecular gastronomic desserts more appealing than ordinary ones and to prove there would be an interest in them for the stategic outome part of this report. As no personal data was being used there wasnt any need for consent forms however each person was told about the project in advance before they made there decisions on what dessert they would prefer. The results as to how many people chose what desserts are below each photograph.

25 people chose this dessert

75 people chose this dessert

33 people chose this dessert

67 people chose this dessert 127

96 people chose this dessert

4 people chose this dessert

63 people chose this dessert

37 people chose this dessert

72 people chose this dessert

28 people chose this dessert 128

Appendix 7 2am Desset Bar Singapore Case Study

A case study on Janice Wong and her dessert bar was appropriate for this report as it gives insight into a current successful experiential dessert only bar using the food trend molecular gastronomy. Her desserts are based on nostalgia, which also supports the research in this report. 2am dessert bar in Singapore is a dessert only restaurant run by head chef Janice Wong. Janice creates the desserts based on the nostalgia she felt as a child. Desserts such as Strawberry Milk were created because she said ‘When I was growing up, I spent several years in Japan. I have fond memories of a dessert I used to enjoy made with strawberries with sweetened condensed milk.’ Other such as popcorn crème brule are amongst the spectacles you can expect to be served.

guests to eat. A sugar wall that peeled off was installed also for guest to sample. This is a prime example of her work and the excitement she wants to portray. Her innovative take on desserts and her ever-evolving creations have won her the 2011 Pastry Chef of the Year Award at the 2011 World Gourmet Summit. Following this project, she will be launching a new culinary research facility, called 2am:lab, which will invite culinary geniuses and chefs from around the world to gather to experiment and create new flavours, textures and techniques with the intention to revolutionise the culinary world (Perfection in Imperfection 2012:Online).

Her book ‘Perfection in Imperfection ‘ expresses these nostalgic feelings and allows other to create her desserts with recipes along side. The book is an exploration of the mind and senses, of perceptions and emotions. The chapters — Origins of Taste, Colours of Taste, Textures of Taste and Memoires of Taste — explore the inspirations behind each of her creations, be it the unique, natural flavour of an ingredient; a distinct hue that evokes an emotion; an unexpected texture that jolts the senses; a nostalgic taste that allows the mind to wander back to childhood days. (Perfection in Imperfection 2012:Online). The book launch is self was interactive with a marshmallow ceiling where waiters would cuts bits off for

‘Welcome to Janice’s artistic, gastronomic world of flawless imperfection and flawed perfection.’

129

130

Appendix 8 Consumer Questionaire

Would it be a place you would visit?

A short questionaire was carried out to see if there were any potential consumerâ&#x20AC;&#x2122;s. 5 specific questions were asked to gain a general consensus as to how they felt about an interactive dessert only resturant. The results were mainly posetive however only 50 respondants replied. This still helped in gaining some consumer insights into a potential outcome.

Would you be likely to go to a sensory resturant like Heston Blumenthals Fat Duck but for less money?

70%

80% Said Yes

Would you go to an interactive dessert only resturant after you had been out to eat?

Said Yes

Would you be interested in a dessert only resturant?

100%

90% Said Yes

Have you been to or heard of an interactive dessert only restaurant before?

Said Yes

131

132

Tutorial Record Sheets School of Art & Design

fcp3

Tutorial Record Sheet 2012/13

School of Art & Design

Module: Research Project Stage 1 Ref. no: FASH30001 Date: 8/11/2012 Name : Hannah Wilkinson

fcp3

Tutorial Record Sheet 2012/13 Module: Research Project Stage 1 Ref. no: FASH30001 Date: 14/11/2011 Name : Hannah Wilkinson

Learning outcomes

§ Produce a self determined body of work that demonstrates cultural and global discourses around theories and ideas in relation to fashion, communication and promotion § Use appropriate levels of research and methods of analysis relevant to the production of your proposal § Make informed selections and develop appropriate and creative solutions in relation to the application of visual communication § Question assumptions within the area of study through the ability to formulate independent judgment, contribute to discussions and articulate reasoned arguments

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

Bring current ideas for chosen topic area to discuss with Sarah. Show areas you have looked into already

Bring along the module guide to go through

Any questions about the report

Learning issues to discuss in session:

Questions about how to layout the report Ask how many pieces of primary research needs to be done How much of the report is visual and how much is text.

What needs to be included in the presentation How to plot a chapter plan Clear on how to set out an introduction – Nations mood, Industry mood, This is my project

Feedback from session: Sarah gave lots of ideas of other areas to look into for example – Papa Bubble, Olfactory, Emotions with sugar, Willy Wonka? Chinese tea shops. Know how to carry out Ethnographic research.

Feedback from session: Clear understanding of the module guide How to do an good methodology

Tasks for next session Research into the emotions behind food and the dining experience. Look at Bompas and Parr and The Experimental Food Society . Research into smell for example olfactory.com

Tasks for next session Prepare Presentation Have written an introduction for Sarah for Wed 28th Bring in to discuss

Email professionals in the industry to gain primary research Look at how I can do some Ethnographic research Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

133

134

School of Art & Design

Tutorial Record Sheet 2012/13

fcp3

School of Art & Design

Module: Research Project Stage 1 Ref. no: FASH30001 Date: 6/12/2012 Name : Hannah Wilkinson

fcp3

Tutorial Record Sheet 2012/13 Module: Research Project Stage 1 Ref. no: FASH30001 Date: 6/12/2012 Name : Hannah Wilkinson

Learning outcomes

Tutorial / Seminar Record Sheet Work to bring / prepare for session:

Interim Presentation

Have Introduction already sent to Sarah Chapter plan to discuss

Learning issues to discuss in session:

Discuss any research I need to do over Christmas

How to improve my Introduction

Thoughts on my presentation

Any Questions about Interim Presentation

Ask how to contact Sarah over Xmas

Feedback from session:

Made clear what to include in my strategic outcome

Good Clear introduction

Feed back from peers as to what else to research into

Edit chapter plan

Need more primary research Deeper research into why we love desserts

Tasks for next session

Correct anything discussed with Sarah about the introduction

Have started writing over Christmas

Have Ready Interim Presentation

Completed some more primary research

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor)

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

Signed (student)

135

136

School of Art & Design

fcp3

Tutorial Record Sheet 2012/13 Module: Research Project Stage 1

School of Art & Design

Ref. no: FASH30001 Date: 10/01/2012 Name : Hannah Wilkinson

Learning outcomes § Produce a self determined body of work that demonstrates cultural and global discourses around theories and ideas in relation to fashion, communication and promotion § Use appropriate levels of research and methods of analysis relevant to the production of your proposal § Make informed selections and develop appropriate and creative solutions in relation to the application of visual communication § Question assumptions within the area of study through the ability to formulate independent judgment, contribute to discussions and articulate reasoned arguments Tutorial / Seminar Record Sheet Work to bring / prepare for session:

Tutorial Record Sheet 2012/13

fcp3

Module: Research Project Stage 1 Ref. no: FASH30001 Date: Wednesday 23rd January Name : Hannah Wilkinson

Show Sarah what you have done over Xmas

Any questions about referencing

Write up any primary research or references

Learning issues to discuss in session:

Show Sarah my revised chapter headings Get her to read a short paragraph to see if my writing is formal

Referencing twice in one paragraph

Discuss Strategic outcome headings and see if they are appropriate

What to hand in with the report

Feedback from session:

Good over all have lots done. Got a good understanding of how to reference parts I was stuck on

Keep writing

Was able to view past reports ones that had failed also go see what to do and what not to do

Finish Conclusion For strategic outcome include visuals Tasks for next session

Tasks for next session:

Finish Strategic outcome

Ask sarah to help set a title for my research project

Remember to ask any reference questions

Get her to read through a section of the report to see if I am evaluating and analyzing correctly

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor)

Signed (student)

137

138

School of Art & Design

Tutorial Record Sheet 2012/13

fcp3

Module: Research Project Stage 1 Ref. no: FASH30001 Date: Wednesday 24th January Name : Hannah Wilkinson

Ethical Checklist

Nottingham Trent University School of Art and Design

Ethical Clearance Checklist for individual student projects

To be completed by the student for an individual project that involves the collection of primary data this includes images, drawings, photographs, questionnaires and interviews. Please complete this document following the guidance in the School of Art and Design Ethical Guidelines and Framework for Research and Practice Undertaken by Students.

Section A: About the research

Name: Programme of Study: Module Title and Reference Number: Name of module leader/supervisor responsible for the management of the project Duration of project Project title

Hannah Wilkinson Fashion Communication and Promotion FASH30001 Sarah Lewington Sept 2012-‐Feb 2013 Self devised project

Section B: Training and experience

Have you had previous experience of or been trained in the methods employed to collect data, and/or discussed with your yes supervisor? Have you been informed, given guidance, had issues outlined in relation to research ethics and consideration in relation to yes your project?

Tutorial / Seminar Record Sheet Work to bring / prepare for session: Laptop with report on for Sarah to read

no no

Section C: Methodology/Practice/Procedures

Does your proposed study involve procedures which are likely to cause physical, psychological, social or emotional distress to yes participants or yourself? Does your proposed study involve the use of hazardous materials, other than those currently covered by the School Health yes and Safety procedures?

Learning issues to discuss in session:

No no

Section D: Ethical checklist

Am I evaluating properly in my report Does my writing flow and sound correct

Feedback from session: Need to correct all grammar and punctuation in my report Together came up with a title for my research report

Tasks for next session:

Does your project involve observing/questioning/the use of people in any way? Yes Please complete the remainder of the form No Go straight to Compliance with ethical principles and Declaration Does your study involve vulnerable participants as described in the Student Ethical Toolkit? yes no n/a Does your study involve observation and/or recording of identifiable participants without their knowledge? yes no n/a Will participants give informed consent freely and be fully informed of the study and of the use of any data collected? yes no n/a Will participants be informed of their right to withdraw from the study? yes no n/a Will all information on participants be treated as confidential and not identifiable unless agreed otherwise in advance yes no n/a and subject to legal requirements? Will any recordings of participants be securely kept and not released for use by third parties? yes no n/a Will storage data comply with the Data Protection Act 1998? yes no n/a If you have selected an answer shaded in grey, you must submit a full application to the Subject REC or modify the project. A full submission to the Subject PREC comprises of: this form, a project proposal, an additional statement of up to 500 words outlining the ethical issues raised by the project and the proposed approach to deal with these.

Compliance with Ethical Principles

Have completed report and sent to print

If you have completed the checklist to the best of your knowledge without selecting an answer shaded in grey, the research is deemed to conform with the ethical checkpoints and you do not need to seek formal approval from the Subject PREC. Please sign the declaration below, and lodge the completed checklist with your supervisor.

Discuss the Live project with sarah

Declaration

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

139

I have read the Ethical Guidelines and Framework for Research and Practice Undertaken by Students. I confirm that the above named investigation complies with published codes of conduct, ethical principles and guidelines of professional bodies associated with the research discipline. Name of student: Hannah Wilkinson Signature of student ………………………………………………………………………………. Signature of supervisor/module leader ……………………………………………..…………………………..………. Date ……………………………………………………………….. Form reviewed October 2011, final copy 14.10.11

140