Dissertation - Brianna Scott

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Interior Design Sells: An Overview of Marketing Contemporary Hospitality Establishments in the Age of Social Media #restaurantselfie #instadesign #feedingthemasses

Brianna Scott z5162733

Bachelor of Interior Architecture (Hons) Dissertation - INTA2411

UNSW Built Environment University of New South Wales 2019

THE UNIVERSITY OF NEW SOUTH WALES Built Environment

Individual Plagiarism Declaration z5162733 Student Number

INTA2411 Course ID

T3 2019 Session & Year

Brianna Aimee

Scott Family Name

Other Names

Dissertation Course Name

Dissertation Title of the Assessment Task to which this Declaration applies

Dr Sing D'Arcy Lecturer

I declare that: •

this assessment item is my own work, except where acknowledged, and has not been submitted for academic credit elsewhere;

•

all reasonable care has been taken to ensure that no other person has been able to copy this work either in paper or electronic form.

I acknowledge that the assessor of this item may, for the purpose of assessing this item: •

reproduce this assessment item and provide a copy to another member of the University; and/or,

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communicate a copy of this assessment item to a plagiarism checking service (which may then retain a copy of the assessment item on its database for the purpose of future plagiarism checking).

I certify that I have read and understood the University rules in respect of Student Academic Misconduct.

29/11/19

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Plagiarism is the use another's work pretending that it is your own. More specifically, in an educational context, plagiarism is endeavouring to obtain academic credit in a course of study for work that is either not individually prepared by you or prepared by you, but for some other purpose, whether paid or unpaid. The following web sites expand more fully on the nature and consequences of plagiarism and must be read prior to submitting this declaration. http://www.lc.unsw.edu.au/onlib/plag.html http://www.be.unsw.edu.au/student-intranet/assignments-and-plagiarism/

INTA2411 Dissertation, 2019

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Abstract: In recent years, the dining experience has been more readily complemented by quality interior design. This can be primarily attributed to the introduction of social media and the lifestyle of millennials. Today’s generation are no longer satisfied with a good meal, it needs to be accompanied by a well designed interior. In an age of fast fashion, trends have never before been so accessible. Interior design is no longer for the rich, rather it remains adaptive and fresh for the masses.

It is important to question what this means for the hospitality typology and how focus has shifted from food and drink to quality design. Some commentators would go so far as to say for the first time in history, the significance placed on interiors is now as important if now more important than the food served itself.

This dissertation seeks to explore how interior design is used as a marketing device in the age of social media, with specific reference to the hospitality industry. How social media has developed the hospitality typology and how interior design is now used as a marketing tool?

Research and analysis will be conducted regarding atmosphere, interior design and social media. Contemporary values that have changed the way we experience hospitality interiors and how interior design is now a means of marketing will be also be considered. A series of cases studies will aim to cement the theoretical concepts discussed.

Through the investigation of the development of the hospitality typology, this dissertation will consider how social media has increased the importance placed on interior design and how it is used as a form of visual marketing. Page !1

Acknowledgements:

I would like to thank my Supervisor, Mr Sing D’Arcy for his continuous mentorship and feedback through the process of writing this dissertation. I would also like to express my thanks to the University of New South Wales Built Environment Faculty for providing me with the opportunity and resources to undertake this research.

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List of Illustrations:

Figure 3.01. Social Hideout Instagram Brand Page, Instagram, accessed 8 November 2018, <https://www.instagram.com/socialhideout/?hl=en>

Figure 3.02. Person taking photo of Social Hideout Instagram wall however, not entering cafe, 2019, Author’s Own Photograph

Figure 3.03. Customers preoccupied with phone activity, 2019, Author’s Own Photograph

Figure 3.04. Customers taking pictures of each other in front of an Instagram wall at Social Hideout, 2019, Author’s Own Photograph

Figure 3.05. Image from Social Hideout Instagram page depicting fake plants, neon lights and pastel paint colours, Instagram, accessed 8 November 2018, <https://www.instagram.com/socialhideout/?hl=en>

Figure 3.06. Social Hideout Instagram brand page featuring tagged posts. Most images feature customers posing within the interior, Instagram, accessed 8 November 2018, <https://www.instagram.com/socialhideout/?hl=en>

Figure 3.07. Hacienda Instagram brand page, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

Figure 3.08. Hacienda Instagram Story depicting interior, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

Figure 3.09. Hacienda Instagram Story depicting interior, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

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Figure 3.10. White Fox Boutique promoting clothing line with Hacienda interior and featuring it on the Hacienda Instagram page, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

Figure 3.11. Cosmetics brand Benefit, aligning with Hacienda for promotional purposes and featuring it on the Hacienda Instagram page, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

Figure 3.12. Activewear brand, Paco Loves Luna holding a launch within the Hacienda interior and featuring it on the Hacienda Instagram page, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

Figure 3.13. Customers posing within the Hacienda interior. Image sourced from the Hacienda Instagram page, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

Figure 3.14. Hacienda Instagram Story featuring the changing night experience, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

Figure 3.15. Hacienda Instagram Story featuring the bar, accessed 8 November 2018, <https://www.instagram.com/hydehaciendasydney/?hl=en>

Figure 3.16. Maybe Sammy Instagram brand page, accessed 8 November 2018, <https://www.instagram.com/maybe_sammy_sydney/?hl=en>

Figure 3.17. Maybe Sammy’s interior featured on Instagram, accessed 8 November 2018, <https://www.instagram.com/maybe_sammy_sydney/?hl=en>

Figure 3.18. Maybe Sammy’s interior featured on Instagram, accessed 8 November 2018, <https://www.instagram.com/maybe_sammy_sydney/?hl=en> Page !4

Figure 3.19. Black and white photography image taken from 1960’s film Oceans 11 featured on Maybe Sammy’s Instagram, accessed 8 November 2018, <https://www.instagram.com/maybe_sammy_sydney/?hl=en>

Figure 3.20. Black and white photography of the bar featured on Maybe Sammy’s Instagram page, accessed 8 November 2018, <https://www.instagram.com/maybe_sammy_sydney/?hl=en>

Figure 3.21. Customer posing in the Maybe Sammy interior. Image sourced from Maybe Sammy Instagram page, accessed 8 November 2018, <https://www.instagram.com/maybe_sammy_sydney/?hl=en>

Figure 3.22. GHD promoting their products at a launch party hosted at Maybe Sammy. Promotional content posted to the Maybe Sammy Instagram page, accessed 8 November 2018, <https://www.instagram.com/maybe_sammy_sydney/?hl=en>

Figure 3.23. The Dolphin Hotel Instagram brand page, accessed 8 November 2018, <https://www.instagram.com/thedolphinsurryhills/?hl=en>

Figure 3.24. The Dolphin Hotel interior featuring fabric wrapping the walls and ceilings with wires hanging from lighting fixtures, 2019, Author’s Own Photograph

Figure 3.25. The Dolphin Hotel, originally a temporary instalment, now a permanent interior, 2019, Author’s Own Photograph

Figure 3.26. Fabric wall coverings now discolouring, however, remain aligned with the street grunge aesthetic of Surry Hills, 2019, Author’s Own Photograph

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Table of Contents: Abstract

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Acknowledgements

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List of Figures

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Introduction

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Chapter One: Atmosphere Sells

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Chapter Two: Social Media Sells

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Chapter Three: Case Studies

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Conclusion

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List of References

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Introduction:

This dissertation aims to uncover how social media has influenced interior design, with particular reference to hospitality establishments and their marketing practices. In a social climate where individuals are heavily invested in image and lifestyle perception (Salleh 2013:1), it is necessary to investigate how design and social media are affecting the hospitality industry. Separate research exists on interior design for hospitality establishments and social media marketing theory, however, nothing currently exists to tie these two concepts together. With these factors considered, there proves to be a need for the analysis this dissertation will undertake.

Before establishing the line of argument for this dissertation, it is necessary to underline the contextual framework which gave rise to the need for interior design within the hospitality industry. Historically, the point of difference within the hospitality industry came from competitive prices and the quality of food and drink (Kolter 1974:58). However, as more establishments set up, competition increased. During 1950’s Australia, the economic climate took a favourable turn resulting in wage growth, near full employment, strong household formation and rising population growth. This lead to a demand for more and improved goods and services (Hogben 2014:16). Even though places such as restaurants existed prior to the economic boom, there was not a level of competition. As demand grew, so did the level of complexity, diversity and sophistication of the range and facilities restaurants offered (Hogben 2014:19). Therefore, with more potential rivals, it can be deduced why distinctive features such as atmosphere and interior design became heavily relied upon to market a venue. More recently, image-based social media platforms have played a significant role in attracting clientele through the distribution of representation of their interior.

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This dissertation will reach conclusions regarding the impact of customer online engagement with an establishment, how cost-effective design solutions may affect the success of an establishment, the influence of atmosphere and the importance of using social media as a marketing tool. These deductions will be reached through analysis of how interiors market a hospitality establishment. In Chapter One, the concept of atmospherics will be explored. Atmospherics is ‘the effort to design buying environments to produce specific emotional effects in the buyer that enhance his purchase probability’ (Kolter 1974:50). The effect of consuming food and drink in sensory environments will be investigated. Consideration will also be given to how a well-designed interior can be used as a form of marketing to capitalise on profits. Chapter Two will build on these concepts suggesting that social media now plays a significant role in marketing hospitality establishments through the ability to share photos and videos of interior environments. The ability of establishments to publish imagebased content of interiors and lifestyle perceptions in addition to customers and product-based brands will be factored. Chapter Three will examine a series of case studies which will be used to explore the theoretical ideas discussed in Chapters One and Two. The cafe, Social Hideout and bar, Hacienda both have a strong social media presence of over 20k followers and their social media pages heavily feature their interior. The bar, Maybe Sammy and pub, The Dolphin Hotel have both won national and international awards for their interior design, however, their social media presence is roughly half of that of Social Hideout and Hacienda. Analysis and deductions will be made through first hand observations of customer behaviours, examination of social media pages and inspection of interior design elements. These four case studies will form the basis for a series of reasonings to be made regarding the importance of social media and interior design for hospitality establishments. Findings reveal that interior designs which offered distinct photo opportunities were more likely to have a higher post rating by customers, cost-effective design solutions do not have a negative affect on the success of an establishment, as long as the site features considered design,

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customers will be drawn and Instagram is an easy marketing tool which reaches a broad audience and therefore should be taken advantage of by hospitality establishments.

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Chapter 1: Atmosphere Sells

The interior environment of a hospitality establishment could be perceived as the primary product over food and service. Contemporary consumers consistently make purchase decisions based off the interior and anticipated experience (Kolter 1974:48). To understand the direct influence of social media in marketing restaurants, bars and cafes, it is fundamental to first uncover the criticality of atmosphere in the hospitality industry. Chapter One will first define atmosphere and explore what it is within the context of the hospitality industry. Then, the relevance of atmosphere to sell food and drink will be considered. Marketing Professor, Phillip Kolter (1974:48) supports this idea through his claim that when individuals make a purchase decision, they consider more than the tangible product or service. Additionally, atmosphere and design will be investigated as marketing tools. These factors regarding atmosphere will provide a contextual framework of interior design within the hospitality industry.

Atmosphere and the Hospitality Industry: Atmospherics are key to establishing an experience and are achieved through considered interior design. Atmospherics, as defined by Kolter (1974:50) is “the conscious designing of space to create certain effects in buyers” or more specifically, “the effort to design buying environments to produce specific emotional effects in the buyer that enhance his purchase probability”.

It can be deduced from Kolter’s definition that atmospherics rather than food or drink plays a key role in attracting consumers and encouraging them to spend. It is impossible for one particular environment to appeal to all, which is why a target market must be identified prior to design development, as supported by author Regina Baraban (2001:3). Relevant information to consider when determining the interior design of an establishment includes average income, age distribution, Page !10

frequency of going out, average spend amount and identification of the primary competitors (Baraban 2001:3). Signs, symbols and artefacts of the interior, and sometimes exterior environment, signpost the atmosphere to be expected by potential customers. Objective signs are explicit gestures used to directly inform a customer of the nature of the venue; they can include signs which communicate a type of cuisine or description of the establishment (Gronhaug 2006:276). Implicit symbols develop meaning and atmosphere and can include quality of materials, artwork and floor coverings which produce an overall aesthetic (Gronhaug 2006:276). It can be inferred that different aesthetic and signposting approaches attract different target markets, however, it must not be assumed they remain exclusive to their intent. In an age where people are consistently introduced to new ideas and concepts, it would not be unheard if an unexpected customer were to visit for the purpose of experiencing a new atmosphere (Gronhaug 2006). The more dissimilar a customer is to the intended target market, the more varied their impression will be of the atmosphere (Gronhaug 2006:78).

Influence of Atmosphere on Purchase Decision: Despite an individual’s preference, one thing remains common - most enjoy dining out in clean and attractive environments (Crocker 1950:7). Good food can remain a constant nearly everywhere, but the point of difference for a truly elevated experience comes from the atmosphere. This is best described by British film director, Michael Winner (2008:14) who stated, “Atmosphere is every bit as important as food. You can eat great food, but if it is in a tedious place, so what?” Atmospherics has the power to make a bad meal enjoyable and vice versa; the overall impression will always be heavily influenced by the atmosphere (Spence 2014:273). Several experiments surrounding the satisfaction of food and drink in various environments further support this hypothesis. In the Meiselman experiment conducted in 1988, they discovered that the surrounding environment was capable of improving the diner perception of the meal by as much as 10% (Spence 2014:280). Page !11

Additionally, in the study carried out by Edwards in 2003 where they compared the acceptability of the same meal in ten different locations, they found the location had a profound impact on the response. It was revealed the meal received in a 4-star hotel restaurant earned a 20% or higher rating than when the meal was served in an army training camp or a private boarding school (Spence 2014:280). Given these findings, it is clear why chefs and restauranteurs now place significance on the interior design and hiring of the correct designers for the job (Spence 2014:272). According to the owner of Pier Four in Boston, one of the America’s most successful restaurants, “If it weren't for the atmosphere, I couldn’t nearly do the business I do” (Kolter 1974:58).

With the evidence and research in mind, it can be deduced that good atmospherics and interior design are key to an improved response rate by customers. Futhermore, owners of hospitality establishments have been and should continue to invest in this area of their business in order to fully satisfy the customer experience. As discussed, atmospherics has a profound impact on an individual response to a dining experience and therefore should be considered for an establishment to maximise profitability.

Interior Design Creates Atmosphere: With a base understanding of the impact of atmospherics on the dining experience it is important to discuss the relevance of interior design within the hospitality industry. One of the significant reasons a customer will dine out is to have an experience different from the home, and this includes experiencing food and drink in an elevated, well designed environment (Kolter 1974:59). This concept is best summarised by Elmer Wheeler, once considered ‘The Greatest Salesman in the World’ who iconically stated, “Don’t sell the steak, sell the sizzle” which went on to form the basis of his sales philosophy (Kolter 1974:59). In other words, there should never be a sole focus on the product or service being offered, rather the experience that comes attached as this serves as the Page !12

point of difference. In the case of the hospitality industry, the interior design of the venue can often serve as this distinction, often then becoming the chief form of competition between establishments (Kolter 1974:60). Therefore, in order for an establishment to have a competitive edge and satisfy the wants of the contemporary diner, an interior design strategy may be considered to produce a subliminal experience. Furthermore, as mentioned in the previous paragraph, if this approach to dining is carried out successfully, it may contribute to a financially prospering establishment.

Atmosphere as a Marketing Device: Given the atmospherics of an establishment can serve as the point of difference, it is not unreasonable to assume that the interior design of the venue can be the primary marketing tool. Marketing can be achieved through a design’s ability to grab attention in addition to it serving as a message-creating medium (Kolter 1974:54). As discussed earlier, through implicit signs and symbols, interior design can project particular ideas and concepts which can then be translated into the marketing realm. These defining design attributes aim to market the experience an individual should expect to encounter (Kolter 1974:52). Kolter has made several claims regarding the instances atmospherics and interior design act as a relevant marketing tool. In scenarios where, •

something is purchased or consumed;

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the establishment has design options;

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there is significant competition between establishments;

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there are small differences in product or price; or

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the product or service is aimed at a particular demographic or social class,

marketing the establishment’s atmospherics becomes a necessity (Kolter 1974:53). These points further solidify the earlier claim that in order to be successful, an establishment should provide a point of difference to the diner experience; in this case, it is interior design. Page !13

Summary: As discussed, atmospherics and interior design are critical elements to the success of a hospitality establishment. Chapter One began by defining atmospherics and the elements of interior design which convey meaning and message. Then, the impact of atmosphere within the hospitality realm was considered. It was concluded that great food can be consumed anywhere, however, a truly elevated and memorable experience comes from enjoying that food in a considered environment (Winner 2008:14). The Meiselman and Edward’s experiments helped to support this hypothesis. Next, atmosphere and interior design’s relevance to the hospitality industry was explored. It was noted that successful design is necessary to serve as a point of difference and for an establishment to remain competitive (Kolter 1974:60). Then, atmospherics as a marketing tool was discussed and it was concluded that it was imperative in order to attract clientele (Kolter 1974:53). In summary, Chapter One aimed to build a foundational understanding of the necessity of atmosphere and interior design within the hospitality industry. This has laid a framework for interpreting Chapter Two which will discuss the influence of social media and how establishments gain presence through their aesthetic appeal.

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Chapter 2: Social Media Sells

As discussed in Chapter One, atmospherics and interior design are key tools in marketing a hospitality establishment. Recently, hospitality establishments have been building brand awareness and marketing their services through showcasing their interior environments on social media platforms. Through the introduction of image-based social media platforms, such as Instagram, consumers are becoming promoters of restaurants and bars through their ability to instantly share and gratify enjoyable experiences (Salleh 2013:4).

Firstly, Chapter Two will define social media within the context of the hospitality industry. Then, an overview of social media theory will be discussed to provide a critical framework for analysis. The psychology behind online gratification will be explored to shed light on why the contemporary individual feels a need to consistently present themselves in beautiful and attractive environments. Next, with an understanding cemented in social media theory, social media as a marketing tool for hospitality establishments will be examined. As this is a contemporary topic of discussion, it is relevant to note these changes to society and the interior design industry occur at present. Finally, the connection between social media and the interior design industry will be analysed. Social media gives everyone the opportunity to have a voice and an opinion. Consideration will be given to how the interior design industry has adapted to this evolving social climate. Substantial research exists on social media due to its current dominance in society, however, little research makes a link between social media, interior design and the hospitality industry (Rahardjo 2018:389). This chapter will aim to shed light on how hospitality establishments employ image-based social media to market the experience of their venue.

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Definitions: Before the connection between social media, interior design and the hospitality industry can be explored, key terms must first be defined. The Merriam-Webster dictionary (n.d) defines social media as, “Forms of electronic communication through which users create online communities to share information, ideas, messages and content such as photos and videos”. Therefore, within the context of this dissertation, the term social media will refer to online communities which share and comment on photos and videos of hospitality establishments. De Vries defines a brand page as a profile on a social media platform that is a representation of a non-personal identity such as a product or place (2012:83). Consequently, within this dissertation, the term brand page will refer to the social media profile which is used for marketing purposes of a particular hospitality establishment.

Big Commerce Essentials (n.d) defines a follower as “a user who chooses to see all of another user's posts in their content feed. Getting users to follow their account is a primary objective for online businesses with a social media presence.” Hence, within the framework of this dissertation, followers will refer to individuals who actively receive and want to be notified of content updates released by a hospitality establishment’s brand page.

Social Media Theory: Social media has changed the social climate of the 21st century and the way an individual interacts with the physical world. Instagram can perhaps be considered the most popular image-based social media platform to date boasting over 200 million active monthly members, 20 billion shared photos, 1.6 billion daily likes and an average of 60 million photos uploaded daily (Salleh 2013:1). Through the development of brand pages, the physical merges with the digital, creating online communities which show support through following, commenting and liking brand posts (de Vries Page !16

2012). “In 2011, more than 50% of social media users follow brands on social media” (de Vries 2012:83). This exponentially rising trend has lead to companies investing in their online communications as a form of marketing, as indicated by the US4.3 billion spend on social networking sites (de Vries 2012:83). Studies further suggest that photos and videos increase a consumer’s purchase probability therefore stressing the need for hospitality establishments to maintain a social media presence (Hautz 2013:1). Managers of hospitality establishments are now investing in the development of brand pages on social media platforms to foster relationships with existing customers and attract potential customers (de Vries 2012:83). Statistics confirm that consumers who follow brand pages are more open to receiving information about the brand (de Vries 2012:83). It can be deduced that a hospitality establishment with a strong social media following are more likely to be profitable due to its online presence. In studies conducted, de Vries analysed what made brand posts successful, meaning what types of posts earned the most attention through comments and likes. Features of more popular brand posts include; •

a higher level of vividness;

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a higher level of interactivity;

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provide information; and/or

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provide some form of entertainment (de Vries 2012:85).

It can be inferred from these findings that hospitality establishments with brand pages and posts which encourage community, create points of conversation and provide information about upcoming events or deals tend to be more successful when relating to their online community. As discussed, the rising popularity of social media has encouraged companies, including hospitality establishments, to create brand pages and build online communities.

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Social Media as a Marketing Tool (Brand Pages): In Chapter One, it was discussed how atmospherics is employed as a marketing tool for hospitality establishments. This idea will now be expanded through the exploration of how social media and brand pages market hospitality establishments through image-based content of their interior environments. With the introduction of the internet in the early 1990’s, society began to realise the exponential potential of online advertising and marketing (Murphy 1996:3). With its increasing popularity, virtual real-time marketing became a necessity to achieve economic success (Murphy 1996:3). As contemporary consumers used online searches to gain information, web sites were seen as critical to improve a hospitality establishment’s visibility, however, this form of marketing was seen as limited due to its one-way communication (Beese 2011). Due to this constraint, hospitality establishments have been focusing time and resources on social media due to its higher level of interactivity with consumers (Beese 2011). Even more recently, there has been a shift to imagebased social media from text-based social media. This proved successful for hospitality establishments as they distributed images of their service accompanied by visually-appealing interiors (Jennifer 2014:3). This form of marketing allows customers to easily digest information as they can now get a snapshot of the overall intended experience to be had (Salleh 2013:4). Through analysis of online interactivity of consumers to brand pages and furthermore, improved economic profitability, social media marketing has proved to be very helpful to hospitality establishments (Salleh 2013:4).

Social Media as a Marketing Tool (Consumers): As customers have the ability to share images online, hospitality establishments can take advantage of this as a free marketing device. Images depicting food and drinks in designed environments build a sensory appeal. Furthermore, creating a mental impression of the atmosphere to be experienced inspires a planned visit to these establishments (Wang 2014:504). Due to the interactivity level of Page !18

sites such as Instagram, consumers are now the primary promoters of venues as they post images and share their experiences which ultimately generates a higher response level and emotion from readers (de Vries 2012:86). Brand fans are influenced by each other; they are more likely to respond positively and attend the hospitality establishment if someone like-minded has positively posted about or responded to the venues page (de Vries 2012:86). With these factors considered, consumers are now ambassadors promoting appealing interior experiences (Hautz 2013:1). Research suggests that online recommendations from consumers that others can identify with, has a much stronger impact than targeted advertising as it is coming from an unbiased source (Hautz 2013:3). In summary, social media has a strong success rate in marketing hospitality establishments. Through image-based sharing of food and drink in beautiful, designed environments, consumers can respond more positively as they can picture the proposed experience.

Interior Design as a Marketing Tool on Social Media: In order for a contemporary hospitality establishment to be marketed successfully online, consideration should be given to interior design. Leighton Evans (2017:16), an author and professor specialising in media theory bridges the gap between interior design and images of interior design through his definition of space. He suggests that space can be understood as three entities; firstly spatial practice which refers to the physical space, representations of space which is the constructs of design such as plans, knowledge and designers and lastly representational space which accredits the imagined space such as a consumer envisaging a space from an Instagram post (Evans 2017:16). By allowing consumers to connect with a physical space via social media, the way an individual sees a space and interacts with it are altered (Evans 2017:40).

This dissertation will now explore how the interior design of hospitality establishments have been affected due to the rise of social media. The key encompassing impact is that hospitality Page !19

establishments are attempting to make their venues more aesthetically pleasing in an effort to create a photogenic atmosphere (Rahardjo 2018:289). Due to interior design being a creative and highly subjective industry there is no sure algorithm to produce an Instagram ready environment, however, there are some key elements which have proven successful in attracting attention in hospitality establishments (Rahardjo 2018:393). Key moments or features are stand out elements which can define the branding or atmospheric qualities of an interior and can ultimately create a point of focus in an image such a neon sign or brass poles (LeBlanc 2017:1). Realistically, creating focus is not has simple as LeBlanc suggested and therefore it can be inferred that designed elements which produce a bold contrast from surrounding features or capture attention are ideal for creating focus within an image. Due to the impact of photography for the purpose of social media, designers are now turning key moments into photo opportunities (LeBlanc 2017:1). Considering factors that did not exist prior to social media and areas that were previously neglected also proves successful in creating photo opportunities such as ready-made Instagram walls, commissioned graffiti in bathrooms and interesting vignettes in pokey corners (LeBlanc 2017:1). Once again, it is not as straightforward as sprucing up a corner, however, it can be deduced from LeBlanc’s comments that by designing the unexpected it creates unusual opportunities for photos. An individuals social media page is a projection of ones identity. By providing unusual photo opportunities, one can separate themselves.

A recent trend proven successful is white walls. Instagram posts which feature a neutral, clean wall received an 18 percent higher engagement rate than those with coloured walls (Crain 2017:1). This trend can be attributed to creating key moments, as previously discussed. A white wall creates an unobstructive base for features such as graphic prints and bold textiles (Crain 2017:1). By featuring a key moment against a simple background, it captures attention and shows up well on social media (Crain 2017:1). Furthermore, a monochromatic backdrop in images also allows for self expression Page !20

as the consumer can make themselves the key element in the photo (Rahardjo 2018:393). Although simple, the colour white is not to be underestimated, the wrong shade of white can mean the difference between a space looking institutionalised or successful (Crain 2017:2). The ‘Goldilocks Method’ was developed in an effort to select the correct white; not to warm, not too cool, neutral whites are often the most appropriate (Crain 2017:2). Other recent trends that have proven successful on Instagram posts include high use of vegetation and concrete (Radardjo 2018:393).

Social media means hospitality establishments must stay up to date with relevant design as this is supported by LeBlanc when he states, "people always want the world to know that they're up to cool things, anything that's not cool isn't broadcasted� (LeBlanc 2017:1). It can be deduced that if a hospitality establishment wants consumers to post images of their food and interiors, the design elements must remain up to date and cutting edge to retain interest. Therefore it is to be noted that the design elements considered in this dissertation have limitations in terms of its longevity due to evolving design preferences. As discussed, interior design is an important element to consider if an establishment is to be successful on social media platforms.

Summary: Chapter Two investigated the role social media has played within the growth and development of interior design with specific reference to the hospitality industry. This chapter began by defining social media within the context of this dissertation. Then, an overview of social media theory was provided to lay a framework for later discussion. Next, social media as a marketing tool for hospitality establishments was discussed. Consideration was given to the direct marketing role of the establishment in addition to how consumers can support an establishment through their involvement on social media. Finally, interior design responses to social media was explored. Research provided insight as to what features of interior design proved to be more successful Page !21

through the lens of social media. Both Chapters One and Two have explored the relevance of interior design in hospitality establishments in the contemporary era. Chapter Three will cement these idea through case studies of four current successful establishments in Sydney.

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Chapter 3: Case Studies

Chapter Three has made numerous deductions based on the role and importance of interior design and social media in relation to hospitality establishments. These conclusions refer to what factors create a successful social media presence. They have been reached through the analysis of a series of case studies of hospitality establishments located in Sydney which were designed within the last five years. Investigation was carried out through firsthand observations of customer behaviour, study of social media pages to gauge customer interaction levels and analysis of the execution of the interior design with reference to type and quality of materials used. The cafe, Social Hideout located in Waterloo and the bar, Hacienda located in Circular Quay feature aesthetic qualities which are typically depicted on social media platforms, such as an extensive amount of fake plants and branded Instagram walls. Both establishments also have a significant social media following of above 20k. The bar, Maybe Sammy located at The Rocks and the pub, The Dolphin Hotel located in Surry Hills were also analysed. Both venues feature award winning interior designs and have a social media presence. They are contrasted against Social Hideout and Hacienda to mediate the significance and role of social media in marketing an establishment and provide consideration to whether award winning design elements make a difference in the success of a venue. Once each case study was critically analysed, conclusions were drawn regarding the role and importance of interior design in marketing an establishment through comparisons of case study analysis.

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Social Hideout: 49.9k Followers

Figure 3.01. Social Hideout Instagram Brand Page The cafe, Social Hideout located in Sydney, is self-dubbed ‘Sydney’s Prettiest Cafe’ (Social Hideout n.d). The cafe was designed by wedding event floral stylist, Anna Wang and opened in 2018. The Social Hideout Brand Page (refer to Figure 3.01) has 49.9k Instagram followers, features 1416 image-based posts and 7885 posts under the #socialhideout. With such high statistics and customer engagement rate, it has created reason for being named “Sydney’s most Instagrammable Cafe” (Hing 1:2019).

The author visited Social Hideout on Saturday 9th of November from 2 to 3pm to make first-hand observations regarding how customers interact with the designed environment. These observations include level of mobile device usage and noting which areas of the venue customers took photos. Before entering the establishment, the author saw an individual taking a photo of one of the many Instagram Walls (refer to Figure 3.02). This person did not even enter the cafe, was just passing by. Inside the cafe, a large portion of consumers were engaged in their phone activity (refer to Figure Page !24

3.03). Meanwhile, a group of girls aged around 15 spent 20 minutes posing for the camera in front of another Instagram Wall (refer to Figure 3.04). Once again, these girls were fully engaged on their mobile devices. The behaviours and attitudes the author witnessed at Social Hideout centred around taking photos and analysing content on phones for the purpose of publishing on social media.

Figure 3.02. Person taking photo of Social Hideout Instagram wall

Figure 3.03. Customers preoccupied with phone activity

Figure 3.04. Customers taking pictures of each other in front of an Instagram wall at Social Hideout. Page !25

Social Hideout has been made into an Instagram haven through its extensive use of fake flowers, neon lights, pastel paint colours and imitation expensive elements such as vinyl with a marble print and vinyl flooring made to look like hand painted tiles. The interior features a large amount of plastic flowers hung from the ceiling and walls (refer to Figure 3.05). This aligns with the Instagram

Figure 3.05. Image from Social Hideout Instagram page depicting fake plants, neon lights and pastel paint colours. trend of favouring environments with high levels of vegetation, although fake (Radardjo 2018:393). Three different Instagram Walls were present in the cafe and although different in appearance, all displayed fake flowers and bright neon signs. Furthermore, this aligns with the idea of creating key moments through the use of elements such as neon lights (LeBlanc 2017:1). As previously discussed in Chapter Two, establishments are trying to create interiors which building sensory appeal (Wang 2014:504) and are photogenic (Rahardjo 2018:289). This has proven successful for Social Hideout as supported by the number of customers taking photos of the bold and floral interior. This is further reinforced by their strong social media presence and following. Despite the interior’s ability to create impactful photo opportunities for the primary purpose of Instagram, the details and material finishes are inexpensive. Many design choices have been made to look like Page !26

something expensive when in reality they are substitutions. These features photograph well creating a photogenic interior (Rahardjo 2018:289) and therefore an Instagrammable location made evident through their Instagram brand page (refer to Figure 3.06).

Figure 3.06. Social Hideout Instagram brand page featuring tagged posts. Most images feature

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Hacienda: 22.8k Followers

Figure 3.07. Hacienda Instagram brand page

The bar, Hacienda, located in Circular Quay, Sydney has an interior reminiscent of the 1950’s due to its light fittings and tiled and parquetry flooring (refer to Figure 3.08 and Figure 3.09). The bar also features a considerable amount of fake plants along with a pastel pink colour palate; elements which have featured heavily on Pinterest within the last two years. The bar was designed by Carly Watermann in partnership with Apple Jack Hospitality and opened in 2017. Hacienda has acquired 23.8k Instagram followers, has 888 image based posts and 3176 posts under #haciendasydney (refer to Figure 3.07).

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Figure 3.08. Hacienda Instagram Story depicting interior

Figure 3.09. Hacienda Instagram Story depicting interior

Hacienda has become a typical Instagram backdrop supported by numerous fashion and cosmetic brands who have used the bar for their campaigns. Online women’s fashion brand, White Fox Boutique, cosmetic brand, Benefit and activewear brand, Paco Love Luna have all used Hacienda’s interior to promote the lifestyle perceptions surrounding their brands. This is depicted in (Figure 3.10, Figure 3.11 and Figure 3.12).

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Figure 3.10. White Fox Boutique promoting clothing line with Hacienda interior and featuring it on the Hacienda Instagram page.

Figure 3.11. Cosmetics brand Benefit, aligning with Hacienda for promotional purposes and featuring it on the Hacienda Instagram page.

Figure 3.12. Activewear brand, Paco Loves Luna holding a launch within the Hacienda interior and featuring it on the Hacienda Instagram page.

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Food and drink in beautiful atmospheres taps into a sensory experience even unrelated brands want to associate with (Wang 2014:504). Hacienda has successfully incorporated atmospherics by the definition of Kolter (1974:50) which is “the effort to design buying environments to produce specific emotional effects in the buyer that enhance his purchase probability”. With consideration of the brands’ use of the interior, coupled with Kolter’s definition, it could be deduced that Hacienda’s interior is an environment an individual may aspire to be seen in therefore encouraging potential customers to visit and participate. This concept is further strengthened through the customer engagement rate on their Instagram page. It can be seen in (Figure 3.13) how customers consistently take posed photos of themselves within the Hacienda interior. This is further supported by the author’s site visit on Sunday the 10th of November between 2 and 3pm where they saw numerous groups of women take photos either in front of the Instagram wall or posed sitting on the velvet, cushioned seats.

Figure 3.13. Customers posing within the Hacienda interior. Image sourced from the Hacienda Instagram page

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Figure 3.14. Hacienda Instagram Story featuring the changing night experience

Figure 3.15. Hacienda Instagram Story featuring the bar

The focus is usually balanced between them, their food or drink and the interior environment. Each curated aspect is critical in building an image which was previously highlighted in Chapter Two. It is also significant to note that the Hacienda Instagram features an Instagram story dedicated to photos of their interior taken by customers. As indicated in (Figure 3.14 and Figure 3.15) these images depict the changing aspects of the venue from day to night, key elements such as the bar, the seating area, the Instagram wall and the view in addition to featuring details including the tiled floor, parquetry flooring, lighting, soft furnishings and fixtures. Due to the emphasis placed on Hacienda’s interior on their social media and unrelated brands using the space for promotional purposes, it can be deduced that the interior is significant in marketing the establishment. This concept is further strengthened by the Hacienda brand page dedicating an entire Instagram story to photos of the bars interior. Page !32

Maybe Sammy: 9.3k Followers

Figure 3.16. Maybe Sammy Instagram brand page The bar, Maybe Sammy, located in the Rocks, Sydney won the 2019 award for ‘Best Cocktail Bar of the Year’, sponsored by Campari Group Australia and the 2019 award for ‘Best New International Bar’ judged at the Spirited Awards. The bar was designed by creative director Andrea Gualdi and opened in early 2019. The bar features 9.3k Instagram followers, has made 136 imagebased posts and has 615 posts under the #maybesammy (refer to Figure 3.16).

Maybe Sammy embodies the old-fashioned luxe experience (refer to Figure 3.17 and Figure 3.18) through their use of implicit symbols (Gronhaug 2006:276) including expensive finishes such as bronze skirting, pink velvets, recessed LED lighting, marble counters, a blend of coffered and tray ceilings and jewel tone finishes.

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Figure 3.17. Maybe Sammy’s interior featured on Instagram

Figure 3.18. Maybe Sammy’s interior featured on Instagram

Maybe Sammy’s Instagram page primarily features their cocktails with pictures of their interior scattered between. They also regularly feature black and white photography of the mid 20th century (refer to Figure 3.19) in conjunction to the bar itself (refer to Figure 3.20) indicative of the Page !34

environment they generate at the bar. Maybe Sammy successfully employs objective signs and implicit symbols to depict atmospheric qualities of their establishment (Gronhaug 2006:276). For example, their interior already achieves a 1950’s luxe Figure 3.19. Black and white photography image taken from 1960’s film Oceans 11 featured on Maybe Sammy’s

Figure 3.20. Black and white photography of the bar featured on Maybe Sammy’s Instagram page

aesthetic, however, through the incorporation of black and white photography it strengthens their branding by producing a visual connection to the time period they associate with. Tagged Instagram Page !35

photos more heavily feature the bars interior with customers often posing with a cocktail in hand (refer to Figure 3.21). Maybe Sammy has also been featured as the backdrop for the hair styling product GHD at their Christmas gift launch party. Models wore hairstyles reminiscent of the 1950’s (refer to Figure 3.22), aligning with the environment of the bar. The aesthetics of the bar aim to strengthen the message promoted by GHD. The culmination of these signs and symbols clearly signpost that Maybe Sammy will offer customers an experience which will transport them back to 1950’s Las Vegas. Figure 3.21. Customer posing in the Maybe Sammy interior. Image sourced from Maybe Sammy Instagram page.

Figure 3.22. GHD promoting their products at a launch party hosted at Maybe Sammy. Promotional content posted to the Maybe Sammy Instagram page.

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The Dolphin Hotel: 22.2k Followers

Figure 3.23. The Dolphin Hotel Instagram brand page The pub, The Dolphin Hotel, located in Surry Hills, Sydney features three distinct dining experiences which are tied together by an overall aesthetic. Their wine room is the winner of the 2019 ‘Bar of the Year’ Award presented by the National Good Food Guide. The pub was designed by interior architect George Livissianis and opened in 2016. Their Instagram page features 22.2k followers, they have made 1208 image based posts and have 1361 posts under #thedolphinhotel (refer to Figure 3.23).

The designers were tasked with creating a non-permanent interior solution which would attract customers to the re-vamped Dolphin Hotel. Due to a restrictive budget and time constraints, the interior features white fabric roughly wrapping the walls and ceiling with exposed wires from lighting hanging loosely (refer to Figure 3.24). In another context, these design solutions may appear to be temporary or rushed, however, when assembled together within the Dolphin Hotel they appear carefully considered generating an environment which aligns with the inner city grunge of Page !37

Surry Hills. The positive response to this interior may also be attributed to the bold act of canvasing the space in white fabric. As previously discussed, a plain monochromatic backdrop captures attention and shows up well on social media (Crain 2017:1). The Dolphin Hotel was only meant to be a pop-up bar, however, due to the success and positive response to the new environment, the temporary interior was retained (refer to Figure 3.25).

Figure 3.24. The Dolphin Hotel interior featuring fabric wrapping the walls and ceilings with wires hanging from

Figure 3.25. The Dolphin Hotel, originally a temporary instalment, now a permanent interior.

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The Dolphin Hotel Instagram page primarily depicts close up images of their food and drink selection. Their interior does feature, however, is not the main spectacle. In July of 2017, the interior featured once in every three posts. This number has now declined and as of November 2019, as the interior appears once in every seven posts. Upon visiting the Dolphin Hotel the author noticed that many of the finishes were in need of repair, such as the fabric used to cover the walls and ceilings had discoloured or yellowed in places (refer to Figure 3.26). This made the author consider whether the decline in aesthetic appeal and the quality of finishes is linked to its’ decline in social media posts.

Figure 3.26. Fabric wall coverings now discolouring, however, remain aligned with the street grunge aesthetic of Surry Hills Findings: Through the analysis of Social Hideout, Hacienda, Maybe Sammy and the Dolphin Hotel, deductions regarding the importance and role of interior design within hospitality establishments can be made.

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Firstly, designs which encourage photography will often feature in customers tagged Instagram posts. This conclusion is made evident through the statistics of tagged Instagram posts. Social Hideout and Hacienda both encourage photo opportunities through their designed Instagram walls. These features were designed with the intent for customers to take picture in front of. The success of this marketing strategy is evident when comparing statistics to Maybe Sammy and The Dolphin Hotel. Social Hideout has 7885 tagged posts, Hacienda has 3176 tagged posts while Maybe Sammy only has 615 and The Dolphin Hotel has 1361. The disparity between figures evidently supports this deduction.

Secondly, cost-effective design solutions may not impact the success of an establishment. Despite producing a vastly different atmospheric experience, both Social Hideout and The Dolphin Hotel featured elements of the interior which were in need of repair due to cost-effective design solutions. Regardless of these issues, both establishments remain successful in attracting customers and marketing on social media.

Thirdly, as long as the establishment encourages and produces an intended atmosphere, customers will be attracted. All establishments considered in this case study were designed with an intended atmosphere in mind and that can attribute to the overall success. Social Hideout thrives off being an Instagram haven offering multiple photo opportunities. Hacienda creates a scene both individuals and brands want to associate with; prime views, pastel colours and a tropical impression. Maybe Sammy transports the customer to a 1950’s luxury time portal. The Dolphin reflects the grunge of Surry Hills and therefore builds its success off its location.

Finally, Instagram is an easy marketing tool for hospitality establishments to take advantage of. Instagram is an image based social media platform and therefore an appropriate tool for promoting Page !40

image and experience. As suggested by the numerous Instagram posts featured in Chapter 3, establishments, customers and brands project the ideal atmosphere or experience to present a curated image to the world. It is through these constructed images that an establishment can encourage customer flow and therefore generate profit.

Summary: Chapter Three aimed to reflect theoretical concepts covered in Chapter One and Chapter Two through the analysis of four case studies. Theory relating to types of materials and colours popular on social media and the implication of key elements was evident in the analysis of the cafe, Social Hideout, with social media statistic further strengthening this point. Hacienda reflected the theory of atmospherics and its ability to increase purchase probability. This interior is an environment individuals and even brands want to associate with further reinforcing this concept. Maybe Sammy was a prime example of how objective signs and implicit symbols discussed in Chapter One allude to defining characteristics of an establishments. The Dolphin Hotel indicated how cost-effective design solutions such as canvasing an interior in a plain white fabric can prove successful. This was supported by theory in Chapter Two which considered how neutral whites and monochromatic backdrops can lead to successful interiors. All four establishments have a considerable social media presence which employs images of their interior environments for marketing purposes. Furthermore the success of these establishments is realised when LeBlanc (2017:1) states, "people always want the world to know that they're up to cool things, anything that's not cool isn't broadcasted�. Therefore it can be deduced, if society did not favour these interiors, they would not be posting about them on social media and furthermore, these establishments would not have the number of followers and posts they do today. Through first-hand observation and analysis of social media pages it can be deduced all four establishments are examples of successfully executed design to be marketed on social media. Page !41

Conclusion: With the introduction of social media in the early 2000’s, greater emphasis has been placed on interior design and its role in marketing hospitality establishments. Today’s social climate stresses an importance surrounding image and lifestyle perception (Salleh 2013:1) and because of this, hospitality establishments are keeping up through the development of Instagramable interiors. The demand for favourable, stimulating interiors grew from the need to differentiate from competitors (Hogben 2014). This dissertation has explored how these points of difference regarding interior design have been employed as a marketing tool with specific reference to image-based social media.

As a precursor to understanding the role of social media, the topic of atmospherics was explored in Chapter One. It was revealed that the interior environment has a significant impact on a customer response to the hospitality service as determined by the Meiselman and Edwards experiments in addition to testimony provided by those working in the hospitality industry. Customers are more likely to respond positively if situated in a designed environment considerate of atmospherics. It was further discussed how hospitality establishments sell an experience, not just food and drink, hence the requirement for a designed interior. The analysis then considered how these interior environments serve as a marketing device through advertising their points of difference.

With an understanding of the role and importance of interior design in the hospitality industry, the topic of discussion progressed to include the influence of image-based social media as a marketing tool. It was uncovered how brand pages distribute image-based content of their visually appealing interiors to allow potential customers to gain an overall impression of the intended experience. Furthermore, image-based content distributed by the customer was considered. It was revealed that Page !42

through this activity, customers would become ambassadors by sharing their positive experiences and projecting a lifestyle onlookers would aspire to attain. Therefore generating additional business and revenue. The research then went into detail to explore how specifically, the interior design of hospitality establishments have been affected due to the rise of social media. It was revealed that the design of key elements such as Instagram walls creates photo opportunities for customers.

Chapter Three aimed to cement these findings through a series of four case studies. These sites are all located in Sydney and were designed within the last four years. The cafe, Social Hideout and the bar, Hacienda were chosen due to their strong social media presence. The bar, Maybe Sammy and the pub, The Dolphin Hotel were chosen due to their design credibility, having received both national and international awards. Investigation was carried out through firsthand observations of customer behaviour, study of social media pages to gauge customer interaction levels and analysis of the execution of the interior design with reference to type and quality of materials used. The four venues were contrasted to draw conclusions regarding the role and importance of interior design within the hospitality industry, with reference to the impact of social media.

Through academic research and case study analysis, this dissertation has produced key findings. Chapter One revealed atmospherics and interior design impact a customer’s response to the hospitality service. Chapter Two concluded image-based social media posts, by both the hospitality establishment and its customers, are successful in marketing an establishment due to their broad reach. This is largely due to the design of key elements which create photo opportunities for customers. Chapter Three deduced that interior designs which offered distinct photo opportunities were more likely to: • have a higher post rating by customers;

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• not negatively impact on the success of the establishment if cost-effective design solutions are employed; • attract customers as long as the site features considered design; and • reach a broader audience through image-based social media. As such, this approach should be taken advantage of by hospitality establishments.

This dissertation has only briefly assessed the impact of social media on interior design within the hospitality industry. There is still a need for further research on this topic and two areas of possible lines of inquiry include; • If interior design trends evident on social media are resembled in the design of an establishment, does this improve the chances of financial success? • Do hospitality interiors that are designed to appeal on social media have a short term era of marketing success, until the next big design trend surfaces?

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