THE EFFECT OF PRODUCT PACKAGING ON CONSUMER CHOICE …

THE EFFECT OF PRODUCT PACKAGING ON

CONSUMER CHOICE OF COSMETIC BRANDS: A CASE

OF STUDENTS IN USIU-AFRICA

BY

WINNIE C. RUTO

UNITED STATES INTERNATIONAL UNIVERSITY-

AFRICA

SUMMER, 2015

THE ROLE OF PRODUCT PACKAGING ON CONSUMER CHOICE

OF COSMETIC BRANDS: A CASE OF STUDENTS IN USIU-

AFRICA.

BY

WINNIE C. RUTO

A Project Report Submitted to the Chandaria School of Business in

Partial Fulfilment of the Requirement for the Degree of Masters in

Business Administration (MBA)

UNITED STATES INTERNATIONAL UNIVERSITY-AFRICA

SUMMER, 2015

ii

STUDENT’S DECLARATION

I, the undersigned, declare that this is my original work and has not been submitted to any

other college, institution or university other than the United States International

University in Nairobi for academic credit.

Signed: ________________________ Date: _________________________

Winnie Ruto (ID. No: 640846)

This project has been presented for examination with my approval as the appointed

supervisor.

Signed: ________________________ Date: _________________________

Dr. Joseph Ngugi Kamau

Signed: _______________________ __ Date: _________________________

Dean, School of Business

iii

COPY RIGHT

All material in this project report is unless otherwise stated, the property of Winnie

Chepchumba Ruto. Copyright and other intellectual property laws protect this material.

Reproduction of the materials, in part or whole in any manner without the prior written

consent of the copyright holder, is a violation of Copyright law. ©

iv

ABSTRACT

Much has been discussed in the academic field with a greater inclination of packaging

from the point of view of the producer (manufacturers, retailers, product designers etc.).

However, less has been done with respect to packaging from the point of view of the final

consumer. The purpose of this study is to therefore focus on the consumer, and how the

efforts put behind product packaging technology of cosmetic products influence

consumer purchase choice.

This study was governed by three specific objectives; the assessment of graphics (colour

and artwork), package dimension (shape and design) and information (labels), and how

these key areas of packaging influence consumer choice of cosmetic brands. Ultimately,

these aspects ought to reveal a general perspective of the impact of packaging on

consumer choice of cosmetic brands.

The research employed a descriptive design and utilized the United States International

University-Africa students as the population for this study. A sample size of 100 students

was selected through a probability sampling design (stratified and systematic sampling),

and was furnished with questionnaires to facilitate data collection. The information was

then analysed and subjected to interpretation to further understand the association

between product packaging and consumer choice of cosmetic brands.

An analysis of the responses received by the sample population was subjected to various

measures of description and inference to determine the said association, ultimately setting

the direction in which the research inclined to. Statistically, this study has endorsed the

purpose of the research set out by indicating the existence of an association between

product packaging and consumer choice of cosmetic brands.

It was concluded that in support of the of the existing relationship between product

packaging and consumer choice of cosmetic brands, firms in the cosmetic industry are

justified in their efforts of designing attractive packaging in a bid to attract consumer

interest and evoke purchase decision. The packaging variables have shown their

importance both independently and cumulatively in communicating product quality and

features in a manner that is competitive.

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A major recommendation emanating from this study is an academic inquisition into the

role of package technology on consumer choice. Alternatively, would be the option of

looking into other consumables that highly depend on packaging for their marketing

functions, especially those restricted from certain promotional efforts like alcoholic

products and tobacco related brands. Aside from packaging, other marketing areas that

strongly came out in the course of this study was the role of positioning strategies on

consumer choice.

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ACKNOWLEDGEMENT

I would like to acknowledge my family and friends for the emotional support they have

provided while I have undertaken the preparation of this proposal.

I would also wish to thank Dr. Joseph Ngugi, Prof. Francis Wambalaba and Dr. Stephen

Maore (all of whom serve as faculty members in USIU-Africa) for their efforts in

assisting with the guidance and formulation of this academic document.

I would equally want to thank USIU-Africa for availing the facilities necessary for the

unlimited and continual development of this proposal.

Finally, I would wish to thank God, without whom all this would have been impossible.

vii

TABLE OF CONTENTS

STUDENT’S DECLARATION ....................................................................................... ii

COPY RIGHT .................................................................................................................. iii

ABSTRACT ...................................................................................................................... iv

ACKNOWLEDGEMENT .............................................................................................. vii

LIST OF TABLES .............................................................................................................x

LIST OF FIGURES ........................................................................................................ xii

CHAPTER ONE ................................................................................................................1

1.0 INTRODUCTION...................................................................................................1

1.1 Background of the Study ..........................................................................................1

1.2 Statement of the Problem ..........................................................................................4

1.3 General Objective of the Study .................................................................................5

1.4 Specific Research Objectives ....................................................................................5

1.5 Importance of the Study ............................................................................................5

1.6 Scope of the Study ....................................................................................................5

1.7 Definition of Terms...................................................................................................6

1.8 Chapter Summary .....................................................................................................6

CHAPTER TWO ...............................................................................................................7

2.0 LITERATURE REVIEW ......................................................................................7

2.1 Introduction ...............................................................................................................7

2.2 The Influence of the Graphical Aspect on Consumer Choice ..................................7

2.3 The Influence of the Dimensional Aspect on Consumer Choice ............................10

2.4 The Influence of the Product Information on Consumer Choice ............................13

2.5 Chapter Summary ...................................................................................................15

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CHAPTER THREE .........................................................................................................16

3.0 RESEARCH METHODOLOGY ........................................................................16

3.1 Introduction .............................................................................................................16

3.2 Research Design......................................................................................................16

3.3 Population and Sampling Design ..............................................................................16

3.4 Data collection Method ...........................................................................................18

3.5 Research Procedures ...............................................................................................18

3.6 Data Analysis Method.............................................................................................19

3.7 Chapter Summary ...................................................................................................19

CHAPTER FOUR ............................................................................................................20

4.0 RESULTS AND FINDINGS ................................................................................20

4.1 Introduction .............................................................................................................20

4.2 Demographic Status ................................................................................................20

4.5 The Influence of Graphics on Consumer Choice ....................................................23

4.5 The Role of Dimensions on Consumer Chioce .......................................................28

4.5 The Influence of Product Information on Consumer Choice ..................................31

4.6 Cumulative Analysis ...............................................................................................35

4.7 Chapter Summary ...................................................................................................40

CHAPTER FIVE .............................................................................................................41

5.0 DISCUSSION, CONCLUSIONS AND RECOMMENDATIONS ...................41

5.1 Introduction .............................................................................................................41

5.2 Summary .................................................................................................................41

5.3 Discussion ...............................................................................................................43

5.4 Conclusions .............................................................................................................46

5.5 Recommendations ...................................................................................................48

ix

REFERENCES .................................................................................................................50

APPENDIX .......................................................................................................................53

APPENDIX I: QUESTIONNAIRE: COSMETIC PACKAGING ..............................53

x

LIST OF TABLES

Table 3.1: USIU-Africa undergraduate student distribution.............................................. 17

Table 4.1: Statistical Analysis of Graphics ........................................................................ 23

Table 4.3: Correlation Analysis (Colour vs. Artwork Perception) .................................... 24

Table 4.3: Correlation Analysis (package graphics vs. product manufacture location) .... 24

Table 4.4: Correlation Analysis (package graphics vs. product manufacture preference

location)..............................................................................................................................25

Table 4.5: Correlation Analysis (package graphics vs. consumer price consideration) .... 25

Table 4.6: Correlation Analysis (package graphics vs. product proximity) ...................... 26

Table 4.7: Correlation Analysis (package graphics vs. brand familiarity) ........................ 26

Table 4.8: Statistical Analysis of Dimension ..................................................................... 28

Table 4.9: Correlation Analysis (Package Dimension) ...................................................... 28

Table 4.10: Correlation Analysis (package dimension vs. product manufacture

location)…. ........................................................................................................................ 29

Table 4.11: Correlation Analysis (package dimension vs. product manufacture preference

location)..............................................................................................................................29

Table 4.12: Correlation Analysis (package dimension vs. consumer price

consideration)… ................................................................................................................. 30

Table 4.13: Correlation Analysis (package dimension vs. product proximity) ................. 30

Table 4.14: Correlation Analysis (package dimension vs. brand familiarity) ................... 30

Table 4.15: Statistical Analysis of Information ................................................................. 32

Table 4.16: Correlation Analysis (package information) .................................................. 32

Table 4.17: Correlation Analysis (product information vs. product manufacture

location)…. ........................................................................................................................ 33


preference

location)..............................................................................................................................33

Table 4.19: Correlation Analysis (product information vs. consumer price

consideration)… ................................................................................................................. 34

Table 4.20: Correlation Analysis (product information vs. product proximity) ................ 34

Table 4.21: Correlation Analysis (product information vs. brand familiarity) .................. 35

Table 4.22: Correlation of Specific Research Objectives (graphics, dimension and

information) ....................................................................................................................... 35

Table 4.23: Model Summary ............................................................................................. 36

xi

Table 4.24: ANOVA .......................................................................................................... 36

Table 4.25: Coefficients ..................................................................................................... 36

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LIST OF FIGURES

Figure 4.1: Gender Distribution ......................................................................................... 20

Figure 4.2: Age Distribution .............................................................................................. 21

Figure 4.3: Monthly Income/ Allowance in Ksh. .............................................................. 21

Figure 4.4: Frequency Distribution of Colour Perception ................................................. 22

Figure 4.5: Frequency Distribution of Artwork Perception ............................................... 23

Figure 4.6: Frequency Distribution of the Package Dimension ......................................... 27

Figure 4.7: Frequency Distribution of Product Information .............................................. 31

Figure 4.8: Frequency Distribution of Product Manufacture Location ............................. 38

Figure 4.9: Frequency Distribution of Product Manufacture Preference Location ........... 38

Figure 4.10: Frequency Distribution of Consumer Price Consideration ........................... 39

Figure 4.11: Frequency Distribution of Product Proximity ............................................... 39

Figure 4.12: Frequency Distribution of Brand Familiarity ................................................ 40

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CHAPTER ONE

1.0 INTRODUCTION

1.1 Background of the Study

According to the Department of the Environment of Northern Ireland, packaging may be

defined as “all products made of any material of nature to be used for the containment,

protection, handling, delivery and preservation of goods from the producer to the user or

consumer”, (Department of the Environment, 2010).This definition holds a level of truth;

that of the package being a product and as such ideally different from the product it

contains. However, contrary to this, the view of a package as a product independent of the

actual substance it bears is of little significance to consumers; theirs is a subconscious

assumption of a synonymous nature between the package and the product contained

within. As such it would therefore imply a linkage where a highly efficient and well-

designed package would ultimately translate into a product of superior quality, yet

researches have rarely isolated the cause of product satisfaction to the product’s package

(Hess, Singh, Metcalf, & Danes, 2014).On the other hand, consumer choice, derived from

human behaviour has been viewed as a volatile concept, difficult to measure and predict.

The burden of the success of a product has fallen into the hands of the marketer, who

observes consumer behaviour to create an ‘appealing’ package, consequently

manipulating packaging elements in order to turn the once ‘volatile concept’ into a

predictable and economically measurable outcome(Levin & Milgrom, 2004). However, as

the consumer changes in need, awareness and choice, and as competition grows to

attempt to level the playing field, so must the marketer adapt their strategies accordingly.

The cosmetic market in Kenya, over the past few years, has experienced an influx in the

number of products available within the industry. From fragrances to skin care ranges, the

consumer is spoilt for choice every time they walk into a retail store seeking for these

items. Though top global brands such as Revlon, L’Oreal, Estée Lauder, Nivea, Avon and

Oriflame (Rooney, 2011), have a presence in the country’s market, there is still cut throat

competition from local players scrambling for a piece of the market (Situma, 2013). Gone

are the days when a package was merely just a container that protected the product

through various stages within the supply chain (Kotler & Armstrong, 2010), it is now also

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the last marketing communication tool that a company can use to advertise its product on

the shelf of a retail store (Rundh, 2009).

Competition within this industry has forced company stakeholders to invest in more

attractive and innovative packaging to appeal to the consumer. A package is therefore

highly instrumental in aiding a company’s positioning strategy as they target the

consumer market. How the consumer places the value of the product within their mind,

has quite a bit to do with the product packaging strategy in use (Ampuero & Vila, 2006).

Since the consumer is faced with so many products every single time they visit a retail

store, it is paramount that the package stands out from the rest of the array of similar

products, and is attractive enough to evoke a choice. The package should be convincing,

bringing together all its elements to appeal to the consumer’s need (Rundh, 2009, Kotler

& Armstrong, 2010).

Similar studies have been carried out with respect to the food industry especially in Asian

countries. In Iran, consumers give high regard to elements (shape, size, colour and type of

package) of food packages in their market, and this has led to preference of products

packaged in attractive, informative and highly functional packages. There is a sense of

connectivity associated with the product and the package, as the consumer feels the two

are synonymous. Since it is also the bearer of the product information, if well laid out, a

consumer will more likely purchase that product over the rest due to the informative role

it has played in their decision making process (Jafari, Sharif, Salehi & Zahmatkesh,

2013).

Once again, another research undertaken in Karachi, Pakistan, revealed similar results;

when packaging elements such as colour, package material, design and innovation were

tested against consumer preference, it was clear that packaging communicates consumer

perceived value of the product. If these elements are well combined, the package becomes

a marketing tool, having greater reach than advertising due to its continued after-purchase

product marketing. Like the consumer market in Iran, the package here is viewed as part

of the product; hence its quality communicates product value and further acts as a product

differentiator in the market. It is also key to note that their findings uncovered a partial

dependency of their results on a consumer’s level of involvement, the time constraint they

face when making their decisions, and a level of concern on the package’s environmental

friendliness (Ahmed, Parmar & Amin, 2014).

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Other researches (Deliya & Parmar 2012; Shah, Ahmad & Ahmad 2013;Solanki 2014)

done in India and Pakistan tested, among other packaging elements, design, dimension,

information, innovation, the synonymous nature of the package and the product, the vital

role played by the package with respect to advertising and its crucial nature in

determining a consumer’s decision to purchase one product over another. Even though

the purpose of the package has evolved with time, it must still fulfil the basic

requirements; highly functional and protective of the product, not only through the supply

chain, but even after purchase, up until the product is fully exhausted.

It is evident that a package plays a certain role, both for the company and the consumer. It

is a ‘marketer’, stretching its effectiveness beyond the reach of other promotional tools

such as advertising. Packaging serves as a differentiator, positioning the product in a

manner that is visible to the consumer. As a result, despite the numerous competitive

brands of products, the package is able to ‘call out’ to the consumer, aiding in its location

in a retail store (Rundh, 2009). The consumer on the other hand is at an advantage, not

only of purchasing a product that is intact, but also in enjoying added benefits of

functionality, innovation, imagery and information that guides the decision making

process (Jafari, Sharif, Salehi & Zahmatkesh, 2013).

Cosmetic consumers in Kenya enjoy a wide range of products that are attractively

designed and packaged to appeal to their tastes and preferences. Companies are bringing

to the table various components of interest when it comes to the graphics, dimensions and

information included in the package. Attempts are made at ensuring that the package

meets the changing nature of preference of consumers, how they use the product, when

they use it, and why they use it.

With all that said what then does a consumer look for in a package? Aside from the

product itself, does the package introduce an intensified push to purchase a given

product? If the consumer was genuinely loyal to a particular brand, what then justifies a

company’s expenditure on increased research efforts of packaging and repackaging? The

ultimate test is of course visibility, the ability of the company to ensure that the package

can influence a consumer’s purchase choice now and repeatedly in the future (Rundh

2009; Shah, Ahmad & Ahmad 2013).

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1.2 Statement of the Problem

In 2010, McKinsey Global Institute, the economic research arm of McKinsey and

Company, put together studies that revealed the potential of Africa as the economic haven

of the 21st century. As of 2008, Africa’s collective Gross Domestic Product (GDP)

amounted to $1.6 trillion, combined consumer spending estimated at $860 million and 52

cities within the region having a minimum population of 1 million. Within a decade from

2008, these figures are forecasted to escalate to a combine continental GDP of $2.6

trillion under the control of four key industries within the region (consumer-based

products, infrastructure, agriculture and resources), consumer spending rising to nearly

$1.4 trillion and half of the African population residing in developed cities. That said, it is

impossible to ignore the potential wielded by the African continent within the global

economic sphere. Even more compelling, is the role played by the consumer retail sector

(under which the cosmetic industry exists) that has registered a growth rate of 6.8%

between 2002 and 2007. African consumers are now more educated and exposed to

global trends and as such their demand for more value from corporates has caused a spur

in the retail circles of consumable products (McKinsey Global Institute, 2010).

Another dynamic angle that comes into play is internationalization and the concept of the

global village which have become widely embraced phenomena, sipping under the

consumer’s aesthetics and consequently causing a product’s package to become

somewhat of a volatile concept for every market player (Rundh, 2009). As cosmetic

manufacturers reach a stalemate on consumer satisfaction where the parity among

products is getting smaller and smaller, the package comes in as the final and most valued

tool in determining consumer purchase decision (Rundh, 2009; Shah, Ahmad & Ahmad,

2013).

Kenya’s cosmetic industry faces immense competition both from local manufacturers and

global giants who have now found the African turf rather lucrative to invest in and as

such are bringing their products and services closer to the Kenyan consumer (Situma,

2013). With the increase in competition, researchers have acknowledged the effect of

product packaging on corporate investment with respect to capital and human labour.

However the issue arising, and that which has informed the undertaking of this study, is

to determine whether the efforts put behind a cosmetic product’s package affects the

Kenyan consumer’s decision to actually purchase cosmetic products.

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1.3 General Objective of the Study

To analyse the impact of cosmetic packaging on the Kenyan consumer choice with

respect to cosmetic brands.

1.4 Specific Research Objectives

1.4.1 To assess the influence of graphics (colour and artwork) on consumer choice.

1.4.2 To analyse the role of package dimensions (shape and design) on consumer

choice.

1.4.3 To measure the influence information on a package bears on consumer choice.

1.5 Importance of the Study

This study will test the relationship between a product’s package and a consumer’s

decision to purchase based on the package. The information emanating from this research

will be of benefit to the following;

1.5.1 Corporates

Cosmetic manufacturers and dealers with presence in the Kenyan market or future

intention of the said, who are keen on market information with respect to product

packaging and consumer choice, which may inform their strategies.

1.5.2 Researchers

Every study is of benefit to the realm of research in terms of knowledge addition and

expansion. This study would be of benefit to researchers seeking information on

marketing strategy of the cosmetic market in Kenya, with a focus on product packaging

and consumer choice.

1.6 Scope of the Study

This research will look into the aspects of product packaging that may have an effect on

consumer choice of the cosmetic products available in the Kenyan market. The study will

be primarily carried out in Nairobi among students of USIU-Africa, and as such may face

a broad geographic representation of Kenyan youth cosmetic consumers. Another

limitation worth noting would be a demographic factor of the sample population with

6

respect to age and income as students will generally be within the youth bracket and of

moderate income status.

1.7 Definition of Terms

Some of the terminologies used herein and what they refer to will be as follows;

Packaging: The art and science behind the container that carries a product (Department

of the Environment, 2010).

Consumer choice: The buyer’s/user’s decision to actualize purchase intent into purchase

decision (Miller , 2009).

1.8 Chapter Summary

This chapter has briefly introduced a background into the study of product packaging and

consumer choice of cosmetic brands in Kenya. It will be looking into aspects of a product

package (colour, shape and material) and how they influence consumer choice. It may

shed light on the viability of spending when it comes to product packaging in the

cosmetic industry with a focus on the student population of USIU-Africa.

Succeeding chapters will discuss literature that has been gathered under packaging and

consumer behaviour (Chapter Two) and the methodology to be employed for this study

(Chapter Three).

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CHAPTER TWO

2.0 LITERATURE REVIEW

2.1 Introduction

In the previous chapter, a background into the study of the effect of product packaging on

consumer choice of cosmetic brands was outlined. In this chapter, a literature based

analysis will be undertaken to understand the concepts that define the research problem

earlier stated.

First will be an assessment of the content of each specific research objective; the aspect of

package graphics with respect to colour and artwork, the aspect of package dimensions

with regard to design and shape and the aspect of the informational content on the

package, with great bearing on the label component. Lastly, an illustration of the

conceptual framework in focus of this research.

2.2 Influence of the Graphical Aspect on Consumer Choice

Several articles reviewed give close relation to colour and artwork as the two main

graphical aspects of a product’s package. This relation has made it difficult to analyse

these two spheres independently and so this review will attempt to separate the two,

though not entirely.

2.2.1 Colour

Colour is a basic aspect of human perception and has intrigued many researchers to study

its impact and cognition on behaviour’ (Mehta & Zhu, 2009). The debate on the colour

preference on consumer choice has been a subject of heated debate among psychologists

and marketers alike. The bearing it holds on consumer preference has been drawn from

cognitive studies that have revealed a relationship between the colour red with danger and

mistakes, and the colour blue with a sense of serenity, freedom and openness. As such,

warm hues(generalized from the colour red) bring a connotation of thrill and boldness

while cool hues (blue) carry with them an air of tranqulity (Mehta & Zhu, 2009).

Branding is a story narrated by colour, not just in the creation of visual attractiveness but

in communicating the essence of the product. Cosmetic products are easily denoted by

8

their bold use of colour. A recent study places consumer preference of colour at close to

85%; an indication of the key role colour plays in consumer choice. It carries more than

just a message about the product, it relays the desired attributes that are unique to a brand.

Colour thus becomes the medium by which a brand voices its appeal (Doyle, 2006) (Hill,

2011).

Another school of thought looks at colour in relation to packaging, with representation on

consumer perceived quality. The aesthetic value placed on a product prmarily due to its

colour may affect how an individual views this item against simliar products. The idea

here is that there is a strong relationship between dark colours, especially black, with the

allure of elegance and refinement. A product packaged in this format will tend to

communicate higher value and consequently be thought as more exclusive. On the flip

side, bright colours tend to appear as just any other product and the consumer’s perceived

psychological view of this would be ‘a common man product’. This would translate into

such an item being viewed as relatively affordable and less exclusive (Ampuero & Vila,

2006). An illustration of warm hues such as yellow, orange and green are said to depict a

sense of natural value that consumer’s who tend to lean on less chemicalized products

appear to trust these product package colours as acceptable (Doyle, 2006).

A bit of importance on harmony and coherence between the actual product and the

package colour is of essence, especially in a research on how consumers interpret value of

wine based on the colour of the bottle. The respondents felt an intricate connection

between the package colour and value of the product. Once again, dark colours emerged

as more trusted, a sign of refinement, tradition and experience. Light coloured packages,

especially clear glass was described to make the product appear cheap, with little thought

put into it. However, a certain sense of bias tended to emerge that colours the evoked a

feeling of patriotism (this would be colour combinations that gave the feeling of one’s

national flag) were highly favoured when used in packaging. It is as if a consumer can

trust such a product over another; the subconcious notion that locally manufactured goods

would not be made to harm its own (Ampuero & Vila, 2006; Rocchi & Stefani, 2006).

Though many researchers have placed substantial importance on the use of colour in

packaging, there was a bizzare twist in another study that tested, among other things,

confectioneries, just to discover that consumers, though presented with multiple coloured

packages of the same products with the same weight and description, drew their purchase

9

decision more towards colourless/see-through packaging. It is as if the choice of the

manufacturer to use a transparent package is indeed a sign of trustworthiness. A brand in

this scenario is therefore more reliable if it opts for a clear package as opposed to the

choice of any other colour (Sevilla, 2012).

2.2.2 Artwork

History has given us much appreciation for art (paintings), whether fine or abstract. To a

trained eye, it can communicate vast amounts of thoughts and feelings that give one a

sense of warmth. Art has largely progressed over the years, carrying with it timelessness,

class and royalty. In product packaging, art has been used to convey its own pleasurable

influence onto products in the market. Marketers and manufacturers alike have used art to

draw a consumer’s interest into a realm of elegance and sophistication. Art has been

manipulated to transfer its value onto the product, almost making the two synonymous.

There is a strong belief that art has played into the mind of consumers, creating a high

level of appeal that is favourable. Money has been spent by many organizations into

researching and developing artistic content on a package that calls out to consumer’s

desire for fine things. It is a merger between perception and social attributes that makes

art entirely exclusive and now, important in packaging (Hagtvedt & Patrick, 2008).

Hagtvedt and Patrick (2008), undertook an assessment of what they termed as a spill-over

effect of visual art onto consumable products. The study points out that though the

relationship between art and favourable consumer perception of products has not been

entirely established, marketers have continued to follow cues on purchase behaviour that

have revealed a strong relationship between the visual art and positive consumption of

products packaged in ine with this.

Art was a rather exclusive affair in history, with the few exposed to high society having

not only an understanding of such masterpieces, but an appreciation to match it. However,

the current trend now seems to only appreciate the ‘air’ of art without feeling the need to

dig deeper into comprehending it. As such, marketers have gotten away with using any

form of art since the consumer is not necessarily concerned with the message of the art

piece itself, but more on the fact that it exists on the package. It has become a trend,

acceptable in the market due to its appeal and to a large extent, a sense of luxury. (Dairy

Managemnt Inc., 2001; Hagtvedt & Patrick, 2008)

10

The question of pictorial imagery has also been discussed, and classified as ‘nonart’. As

the study on art infusion tested art against nonart, there was overwhelming response in

support for art, further justifying the authors’ spill-over effect. Art communicated higher

quality and luxury as opposed to nonart, on the same packaged products. The same way

music has found a basis under classical conditioning of consumer behaviour, where the

attributes of the song are carried into the product, art has seemingly behaved the same

way. As such, art infusion has become important in packaging, regardless of the content

of the piece of art itself (Hagtvedt & Patrick, 2008).

Another line of thinking introduces art as a manipulation of lines and shapes, rather than

the previously discussed art in the form of paintings. On this sphere, the use of curves,

waves, shapes and lines of different forms not only indicate visual appreciation, but go

further to create demarcations of how such combinations appeal to different social

classes. It has been explained that structured lines and shape, with symmetry in how they

are paired together, communicate products of higher aesthetic value and draw a

perception of higher price. On the other hand, obscure and almost mismatched shapes,

and asymmetrical order tend to find themselves lower on the value perception spectrum

(Ampuero & Vila, 2006).

The conclusion thus drawn from the use of graphics may appear to match bold colour

combinations, art and symmetrical use of shapes and lines to fall at the top of consumer

value perception. Asymmetrical use of shapes and lines, nonart and bright colours seem

to heavily fall at the bottom of the value chain (Ampuero & Vila, 2006; Hagtvedt &

Patrick, 2008; Mehta & Zhu, 2009; Sevilla, 2012). This will be an important aspect to be

tested in this research.

2.3 The Influence of the Dimensions (Shape and Design) on Consumer Choice

The Gestalt Principles, orchestrated by a group of psychologists from Germany during the

early 1900s, brings into perspective a theory that attempts to explain human perception

with regard to dimensions. Gestalt is a psychological term coined to mean ‘unified whole’

(Spokane Falls Community College, 2013). These principles, commonly referred to as

laws, bring together five elements; that of similarity, continuation, proximity, closure, and

figure and ground, with the aim of explaining human tendency toward order, patterns and

hierarchy. The five laws rarely operate in isolation and as such the human mind will

perceive them simultaneously, sometimes combining two or more laws at a subconscious

11

level while interpreting various levels of meanings of shapes and designs. The law of

similarity dictates that human beings perceive that shapes and patterns that are similar

form a group and can thus create a level of unification. Should, among these shapes and

patterns, exist one that is unlike the rest, the mind perceives it as an ‘anomaly’. As such, a

person would be drawn more to similarity as a result of the ‘order’ it presents and

disregard the ‘anomaly’. The law of continuation explains how the human mind inclines

towards progression, like name ‘gold’ printed in gold as opposed to pink; the gradual

transition from one form to another. This would mean that if two shapes existed and were

to be deemed related, a flow from one to the other was essential. The third is proximity,

defined as the degree of distance among shapes especially of a similar nature. The larger

the distance, the less the mind can perceive then as a whole. If this distance were to be

reduced, say a stack of toothpaste boxes close together, then the unification theory

dictates a strength in numbers; highly visible, greater appreciation. Closure is the ability

to fill in the gaps to create a complete picture. This is however only possible when the

existing pattern is familiar to an individual such that it is not necessary to see the entire

design but one can almost imagine it complete, much like the Apple logo. Lastly, figure

and ground; refers to how an object (figure) is perceived within its environment (ground).

The ability of the mind to conceptualize a shape or form is highly dependent on the

supportive nature of its surrounding e.g. a boldly coloured logo on a seemingly less

aggressive background. These five principles hold a certain assumption; that human

perception affirms these laws and disregarding any shape or design that does not abide by

Gestalt.

When it comes to the performance quality of any product, its shape and design have a

heavy bearing on it. This is fundamentally how the product appears on the shelf in a

supermarket, an afterwards in a consumer’s home. The basic function of a package that

any consumer evaluates almost at a subconscious level is its ability to hold and protect the

product through its life cycle (Deliya & Parmar, 2012; Shah, Ahmad & Ahmad, 2013;

Solanki, 2014). Just like the graphical aspect of colour and artwork, shape and design

under the aspect of dimensions have been used almost interchangeably in past studies and

the same shall be done here.

Among the many visual cues within close range to a consumer is the shape or

symmetrical nature of the package. It is not just important to the consumer, but is equally

crucial as it crosses the supply chain when it comes to issues of staking and packing. The

12

retailer needs to feel like the space used to display the product in the store is as minimal

as possible and at the same time, attractive and eye catching (Kotler & Armstrong, 2010).

In the cosmetic industry however, there seems to be a shift in the trend when it comes to

the use of dimension. It is nolonger about simple columns that are easy to align on a shelf

in the name of ‘space-conservation’, but the extreme end of the spectrum is being

experienced. Marketers have chosen to deconstruct shape into angles and features

previoulsy unimagineable. The geometric structure and panelling has been taken to a

level of deconstruction that is simply a sight to behold once one steps into a store. From

the shapes of smashed industrial metal, diamonds and dolls, to designs that spell out

brand logos and letters, cosmetics have indeed come a long way from panelled packaging

to deconstructed works of wonder (Hill, 2011).

Marketers have found out that the design and shape of cosmetics have to meet a sort of

decorative need when in the possession of the consumer. The more abstract the design, in

this case, the more catchy to the consumer. Since, unlike food consumables, cosmetic

products have grown into more collectable products, even after the product itself has been

exhausted. As such, it contiues to carry the marketing role into a consumer’s home. It has

become the future of brand identity, turning the entire process into a mark of exclusivity

and further into a limited edition pieces (Rundh, 2009; Hill, 2011; Underwood, 2011).

If a consumer feels that the thought put into designing the package of any particular

product is done creatively, then it bears an influence on perceived quality. If the shape

and design is extravagant, then the value placed on the item is worthwhile. Therefore,

together with superior performance quality, package design that is artistically revealed

has a positive impact on consumer purchase (Holmes & Paswan, 2012).

Design and shape are also viewed synonymously to the product such that when the shape

appears larger, then the consumer feels as though the quantity of the product is much

more than what it actually is. Consequently, if two similar products of matching quantity

are availed to a consumer, with one package larger than another, it is possible that a

consumer will select that which seems bigger as he relates that to value with respect to the

price spent. This becomes a very important factor when designing the shape of any

package since such consumer preference occurs almost without any thought (Rocchi &

Stefani, 2006).

13

To marketers, design is part and parcel of the initial communication between the brand

and the consumer within the closest proximity.It is thus essentially crucial in its role as a

communicator of the manufacturer’s strategy and promotional plan. For the consumer to

fully experience the product, the design has to be functional and catchy. In this way, the

consumer is satisfied at two levels; with the product itself and with the experience of

interacting with the package (Miller , 2009).

Another school of thought introduces an interesting twist into the nature of the design and

shape of a product; that of ‘closure’. Illustrated would be a sandwich that is presented

whole. The fact that its dimensions have not been altered means it has closure. If the

sandwich is to be cut, then its level of closure has been compromised. The study behind

this ascertained that consumers view on closure is directly related to their perception of

size such that a ‘closed’ package is of a greater size than one that seems altered. It is

because subconsciously, there lies a thought that there is a missing piece in this ‘puzzle’.

This approach goes against the extreme design as an appeal, saying that if a consumer

perceives closure (which can only exist in a structured package design) as a complete

product (Sevilla, 2012).

When it comes to design and shape therefore, it will be an area of assessment to test the

aspects brought out in the Gestalt principles against more ‘law-defying’ designs and to

understand what the purpose of the purchase really is; if it is to obtain the product for

itself or the package due to its design.

2.4 The Influence of Product Information (Labeling) on Consumer Choice

‘For a message to have an effect it must be believed’ (Sevilla, 2012). On any package,

information will either be displayed on the package directly or included on the label. Such

information ranges from the name of the product to the product composition list,

manufacture and expiration dates, location of manufacture etc. It is crucial in the current

time that information about a product is present on the package, and as such to serve the

dual role of communicating product benefits and detriments in equal measure. America

has viewed this with vigor and package information must disclose even warning signs so

that the consumer is fully aware of the product attributes (Miller , 2009).

It has also been held that the closer the proximity of the message is to the consumer, the

more believable it is since advertisements and other promotional tools have been shown

14

to have sense of distance between the consumer and the product. This not only applies

within the sphere of marketing but acts as a basic psychological principle of proximity

and message acceptability. This theory holds that the level of human acceptability of any

information is increased once the communication medium is brought to a closer range.

This therefore informs marketers on the information content to place on a product’s

package as it draws a consumer closer to the product as compared to other forms of

promotion like advertising (Sevilla, 2012).

Logos have also been incorporated in labels, and corporate manufactures with strong

logos and trademarks in the cosmetic industry use these to elbow past competition as they

capitalize on consumer familiarity with their brands. Information on the label is thus vital

in pushing a product in the market especially when used by renowned brands such as

Calvin Klein, Gucci, Dior and Prada (Hill, 2011).

One approach when it comes to labeling is the basic functionality behind it such that a

label should essentially have two parts; the front label that evokes consumer interest and

bears the marketing function of attractiveness, and the back label that has the technical

informational content of the product. The relationship between these two labels should

essentially be harmonious, as in the Gestalt Law of Figure and Ground, as the consumer

will not assess the two independently, but the back as a continuation of the front. That

said, emphasis is further placed on the shape, size and position of the label as well as the

nature of the inscription on it. Whether the information on the label tells a story of the

product or simply has a catchy ring to it is vital in determining the level of consumer

interest in the product. However, the foundation of it all is to ensure that the information

displayed on the package or label is true and relevant, so that the consumer feels a sense

of trustworthiness in the overall presentation of the product (Rocchi & Stefani, 2006;

Sevilla, 2012).

The matter on communication of value that is vested on a label is worth looking into. A

consumer responds positively to information that is well written and clear, since if the

label looks well organized, then the consumer perceives higher care given to this

particular product hence greater perceived quality. Another aspect mention in this study

that looked into the perception of consumers on the value of wine packaging was the

presence of a watermark on the label. There was an intrinsic feeling of exclusivity or that

the item is rare and almost collectable. It all boils down to the content of the information

15

and how it is presented (Rocchi & Stefani, 2006). The information selected to appear on a

package should be done carefully, to ensure that a positive lingers in a consumer’s mind

repeatedly. This repetitive nature is primarily for the purpose of product recollection,

ensuring that the desired image is retained in the consumer’s mind constantly to evoke

product choice. The underlying principles behind this are the Gestalt Laws of Closure and

Continuation; stating the ability of the mind to complete and incomplete form and

mentally perceive it as a whole, and the ability to gradually progress from one form to the

next, respectively (Spokane Falls Community College, 2013). Closure and continuation

work hand in hand when it comes to information; giving the consumer a basis on which to

build an image and generate expectations, preferably that the product is superior to the

rest on the shelf (Konnikova, 2014).An important factor to note as this study is

undertaken would be to understand the extent to which information (label) attracts

consumer interest and stimulates choice.

2.7 Chapter Summary

This chapter has reviewed literature on the three specific research objectives that shall

govern the scope of this study; the graphical aspect of a product package with regard to

colour and artwork, package dimensions as pertains shape and design, and finally

information, which has been closely connected with labeling. The next chapter will

describe the research design and methodology, outlining how data shall be sourced and

analyzed for interpretation.

16

CHAPTER THREE

3.0 RESEARCH METHODOLOGY

3.1 Introduction

This study seeks to analyse the impact of product packaging on consumer choice of

cosmetic brands. This chapter outlines the overall methodology to be undertaken for the

purposes of this research; research design, population and sampling design, data

collection methodology research procedures and the data analysis methods that governed

this study.

3.2 Research Design

Research design is described as the framework or plan for the study used as a guide in the

collection and analysis of data. The research design used in this study was descriptive in

nature. Cooper and Schindler (2003) describe a descriptive study as a method that tries to

discover answers to the questions who, what, when, where and sometimes how. It assists

in describing a subject often by creating a profile of a group of problems, people or

events. The descriptive design involves evaluating how different factors are perceived by

the consumers and how they affect their behaviour and choice. Since the study is aimed at

analysing the influence of product packaging on consumer choice of cosmetic brands, it

was appropriate to undertake a descriptive design to give more insight on consumer

purchase behaviour and statistically shed light on justifications of whether cosmetic

manufacturers should increase the expenditure on packaging technology, based on the

outcome of this study.

3.3 Population and Sampling Design

A population refers to all the individuals or objects that meet certain requirements for

membership in the overall group. Those who qualify are then referred to as the population

elements (Churchill & Brown, 2007). According to Cooper and Schindler (2003), a

population is the total collection of elements about which we wish to make inferences.

The purpose of the study was to study the influence of product packaging within the

Kenyan cosmetic industry. As such, the target population was obtained from United

States International University -Africa students. This is an institution that boasts of

17

coverage that is largely representative of both local and international students.

Though the balance of nationality may not be evenly scaled, it still offers valuable insight

into the consumption behaviour of cosmetic products with respect to packaging. All

undergraduate students in session at USIU-Africa formed the population for this study.

A sampling frame is an objective list of the population from which the researcher makes

her selection. It should contain a complete, up to date list of all those that comprise the

population for research (Descombe, 1998). According to Cooper and Schindler (2003),

this list should be a complete and correct list of the population members only. The

sampling frame in this study is made of the students of United States International

University. The records in the Student Affairs Office show that there are

5928undergraduate students. This information has been further illustrated in the table

below.

Table 3.1: USIU-Africa Undergraduate Student Distribution

Population Description Population Number Percentage

Male 2,753 46.44%

Female 3,175 53.56%

TOTAL 5,928 100%

Source: Student Affairs Records (USIU-Africa), March 2015.

The sampling techniques used in this study were stratified random sampling and simple

random sampling. This was to be so, in order to divide the undergraduate student

population into their respective year of study and gender (stratified) then further

administer the questionnaires randomly until the required sample size is arrived at. Since

the gender percentages are different, the ratio, 46% male: 54% female, an attempt will

made yield responses with respect to the gender distribution as shown in Table 1 above.

Cooper and Schindler (2003) stated that the sample size is the selected element or subset

of the population that is to be studied. To ensure that the sample accurately represents the

population, they further recommended that the researcher must clearly define the

characteristic of the population, determine the required sample size and choose the best

method for selecting the members of the sample from the larger population. Though

several techniques of selecting a sample size exist, the one that has been selected for this

study draws from a concept developed by Yamane in 1967 that presents a simplified

18

sampling formula, that brings together the population size and the preferred error term;

either 5% or 10% depending on the researcher’s desired level of confidence, to determine

an appropriate sample size as illustrated below (Singh & Masuku, 2014).

n = N/ 1+Ne²

Sample = Population/ (1 + [Population*sampling error²]

Walliman (2011) concurs and states that a population that is greater than 5,000 can apply

this formula to generate an appropriate scientific sample size since the magnitude of the

population may not entail a sample whose traits are extremely heterogeneous. Based on

the formula above, with the population of 5,928, and the sampling error as 10% (one of

the two acceptable error values for social sciences), then n is 98.341, hence a sample size

of 100 students was used to represent the estimated population; that is 1.7% of the general

population under study. It is also important to state that within a certain range of the

population size, the formula above may yield a similar sample size result. This has been

explained as mechanism to have a sample size that is manageable for study and hence

appropriate for large populations where the parity in heterogeneity is minimal.

3.4 Data collection Method

Primary data collection method was applied in this study. Data was collected using

questionnaires designed by the researcher. The questionnaire contained closed ended

questions, governed by the three research questions earlier described; that of graphics,

dimension and information, to ease analysis and minimize error. The use of a

questionnaire ensures that the required information is collected in the shortest time

possible. Secondary data was obtained from the admissions records where necessary.

3.5 Research Procedures

The researcher began by seeking approval of the proposal for continuation and sought

permission from the relevant authority to undertake the study in USIU-Africa. A letter

was then sent to the research office in USIU-Africa to notify them about the undertaking

of the research. The researcher recruited and trained research assistants to aid in data

collection. A list of all continuing undergraduate students was sourced from the

admission records to create strata within the population based on the students’ year of

study. The researcher conducted a pilot test of the questionnaire before the main research

to enhance the efficiency of the findings. A pre-test is conducted to detect weaknesses in

19

the design. It should therefore draw subjects from the target population and simulate the

procedures and protocol that have been designated for data collection (Cooper and

Schindler, 2003). There was a two day pilot test conducted on 10 students. The group

also helped in correcting and modifying the questionnaire after which it was ready for

use. The selected respondents were then briefed on the research and all responses remain

confidential. Consent was sort from them as the study is entirely on voluntary basis. The

questionnaires was then administered and collected for purposes of analysis.

3.6 Data Analysis Method

The data was collected using a combination of self and researcher-administered

questionnaires. The data was then analysed using SPSS. The first step in the analysis

involved cleaning of the collected questionnaires; ensuring that all questions are

answered, knowing the number collected and ensuring all the pages are intact. This was

be followed by coding the questionnaires into SPSS then data entry and cleaning, to

rectify any wrong entries. This is done to ensure accuracy of the data and its conversion

from raw to reduced and classified forms that are more appropriate for analysis (Cooper

and Schindler, 2003).

Desriptive statistics were done to get the mean, mode and median, and inferrential

statistics to reveal the range, standard deviation and variance. Further, the research

analysed the output’s correlation on demographics versus the objectives, and regression

analysis was used to test the hypothesis (Null hypothesis-Hₒ: there is no association

between product packaging and consumer choice of cosmetic brands). Results have been

presented with the use of figures and tables to facilitate interpretation.

3.7 Chapter Summary

This chapter has expounded on descriptive research design and how it was undertaken in

this study. The population was the undergraduate students of USIU-Africa, from whom

100 respondents were extracted through probability sampling, and provided with

questionnaires that collected data necessary for the study. This data was then subjected to

SPSS for purposes of analysis. The succeeding chapter looks into the results and findings

emanating from the methodology stated in this chapter.

20

CHAPTER FOUR

4.0 RESULTS AND FINDINGS

4.1 Introduction

The previous chapter dealt with the discussion of the research methodology that was

applied in this study. This chapter will display the outcome of the study based on the

parameters set out in the previous chapter in an aim to bring into statistical perspective

the results and findings of this study.

4.2 General Analysis of Demographic Status

The study prompted general criteria to bring into perspective the demographic structure of

the respondents involved in the study. As indicated in the previous chapter, 100 USIU-A

undergraduate students took part in this study and the demographic structure is as

follows:

Figure 4.1: Gender Distribution

As illustrated above, the gender distribution of was uneven with male respondents

constituting slightly over one third of the population at 39% and female respondents at

61%. This disparity was expected due to the population imbalance of USIU-A

undergraduate students as depicted in Table 1 (Chapter 3).

21

Figure 4.2: Age Distribution

The figure above is a visual illustration of the age distribution. Respondents were given

four age brackets in which to select their category. The first selection was the age bracket

below 18 years, in which none of the respondents selected. 83% of the sample was

between the ages of 18 and 28, 12% between 29 and 39, and 5% were above the age of

40.

Figure 4.3: Monthly Income/ Allowance in Ksh.

22

Figure 3 illustrates the third and final demographic element which questioned respondents

on their monthly income level. 67% of them have between 0-20,000 Ksh, 19% have

between 20,001 and 50,000 Ksh, and 13% having the lowest majority at an allowance rate

above 50,000 Ksh.

4.3 Analysis of the Graphical Aspect

One of the three key research objectives in this study was the impact of a product

package’s graphical aspect on consumer choice. The results emanating from the study

revealed that the graphical aspect of the package (colour and artwork), was viewed

favorably in relation to consumer choice of cosmetic brands, with a cumulative score of

the ‘agree’ and ‘strongly’ agree options at 55% (Colour) and 47% (Artwork) as

illustrated below.

Figure 4.4: Frequency Distribution of Colour Perception

23

Figure 4.5: Frequency Distribution of Artwork Perception

The aspect of graphics yielded fairly close statistical results when an analysis was carried

out. The mean value averaged at 3.4, the median value at 3.5 and the modal value at 4.

These three measures of central tendency seemed to depict close similarity. The measures

of dispersion (variance and standard deviation) averaged at 1.202 and 1.096 (respectively)

from the mean value. The skewness of the data was negative, averaging at -.414 but more

skewed in colour than in artwork. The table below further illustrates these results.

Table 4.1: Statistical Analysis of Graphics

Colour Artwork GRAPHICS

N Valid 100 100 100

Missing 0 0 0

Mean 3.38 3.42 3.40

Median 4.00 3.00 3.50

Mode 4 3 4

Std. Deviation 1.071 1.121 1.096

Variance 1.147 1.256 1.202

Skewness -.713 -.235 -.474

Std. Error of Skewness .241 .241 .241

Range 4 4 4

With respect to correlation, the analysis revealed an average positive correlation with a

statistically significant relationship between an individual’s product choice based on the

24

attractive nature of a package colour, and its artwork. The results showed a nearly average

positive correlation value (r = 0.446) with a P value of less than 0.01, an indication of

statistical significance. The results are illustrated in Table 3.

Table 4.2: Correlation Analysis (Colour vs. Artwork Perception)

I buy a product

because the colour

of the package is

attractive

I buy a product

because the

artwork on the

package is

attractive.

I buy a product because the

colour of the package is attractive

Pearson Correlation 1 .446**

Sig. (2-tailed) .000

N 100 100


artwork on the package is

attractive.

Pearson Correlation .446** 1


N 100 100

**. Correlation is significant at the 0.01 level (2-tailed).

In addition to subjecting the respondents to questions directly related to product

packaging, other aspects of consumer choice were included in the data collection tool. A

correlation analysis was undertaken to assess the relationship between the first research

objective (Graphical Aspect) against each of the five additional consumer choice

determinants and the results were as follows:

Table 4.3: Correlation Analysis (package graphics vs. product manufacture location)

I buy a product

because the colour of

the package is

attractive

I purchase cosmetic

products of locally

established companies.


colour of the package is

attractive

Pearson Correlation 1 .007


N 100 99

I purchase cosmetic

products of locally


Pearson Correlation .007 1


N 99 99

25

Based on the first alternative consumer choice preference determinant in Table 4, r was a

very weak positive relationship close to zero indicating little to no correlation between the

two variables. The P value was also above 0.05 (P = 0.946), a clear indication that there

was no statistical significance between the two variables tested against each other in the

table above.

Table 4.4: Correlation Analysis (package graphics vs. product manufacture preference

location)

I buy a product

because the colour

of the package is

attractive

Cosmetic products

manufactured locally have a

higher quality than those

manufactured internationally.



attractive

Pearson Correlation 1 -.008


N 100 99

Cosmetic products



manufactured

internationally.

Pearson Correlation -.008 1


N 99 99

In Table 4.4, the second consumer choice preference alternative was measured against the

research objective of product packaging and the results showed a very weak negative

relationship almost close to zero (P = -0.008) which indicates no correlation between the

two variables. The level of significance registered a value higher than the recommended r

= 0.05 (r = 0.941) indicating that there was no statistical significance between the two

variables.

Table 4.5: Correlation Analysis (package graphics vs. consumer price consideration)

I buy a product because

the colour of the package

is attractive

Price determines my

choice of cosmetic

products.



attractive

Pearson Correlation 1 .209*


N 100 98

Price determines my choice

of cosmetic products.

Pearson Correlation .209* 1


N 98 98

*. Correlation is significant at the 0.05 level (2-tailed).

26

When the third aspect (price) was tested against the graphical aspect of product

packaging, the correlation coefficient depicted a weak positive relationship (r = 0.209)

between the two variables. This relationship was however statistically significant, with a

P value of less than 0.05 (P = 0.039).

Table 4.6: Correlation Analysis (package graphics vs. product proximity)



attractive

I purchase cosmetic

products that are within

close proximity.



attractive



N 100 96

I purchase cosmetic


close proximity.



N 96 96

Table 4.6, an analysis between the graphical aspect of packaging and product proximity

yielded a result with a correlation coefficient that was positive but very weak (r = 0.043).

Since the P value was greater than 0.05 (P = 0.679), then it can be concluded that the

relationship between the two is not statistically significant.

Table 4.7: Correlation Analysis (package graphics vs. brand familiarity)



attractive

I purchase cosmetic

products with well-known

brands.



attractive



N 100 99

I purchase cosmetic


brands.



N 99 99

Table 4.7, an analysis between the graphical aspect of packaging and brand familiarity




27

4.4 Analysis of the Package Dimension

Another key research objective in this study was the role of a product package’s

dimensions on consumer choice. The results emanating from the study revealed that the

dimension of the package (shape and design), was viewed favorably in relation to

consumer choice of cosmetic brands, with a cumulative score of the ‘agree’ and

‘strongly agree’ options at 63.6% as illustrated in the figure below.

Figure 4.6: Frequency Distribution of the Package Dimension

The aspect of dimension yielded fairly close statistical results when an analysis was

carried out. The mean debuted at 3.72, the median at 4.0 and the modal value at 4. These

three measures of central tendency seemed to depict close similarity. The measures of

dispersion (variance and standard deviation) accumulated to values of .858 and .926

respectively, from the mean value. The skewness of the data was negative, averaging at -

.582. The table below further illustrates these results.

28

Table 4.8: Statistical Analysis of Dimension

N Valid 99

Missing 1

Mean 3.72

Median 4.00

Mode 4

Std. Deviation .926

Variance .858

Skewness -.582

Std. Error of Skewness .243

Range 4

With respect to correlation, the analysis revealed a weak, positive correlation with a

statistically significant relationship between an individual’s product choices based on the

attractive nature of a package dimension. The results showed a nearly average positive

correlation value (r = 0.362) with a P value of less than 0.01, indicating the existence of

statistical significance. The results are illustrated in Table 4.9 below.

Table 4.9: Correlation Analysis (Package Dimension)

I buy a product

because the

design/shape of the

package is attractive.

I will purchase a product

because the package

design/shape is attractive even

if I do not need the product.


the design/shape of the


Pearson

Correlation 1 .362**


N 99 99

I will purchase a product

because the package

design/shape is attractive

even if I do not need the

product.

Pearson

Correlation .362** 1


N 99 99


Based on the first alternative consumer choice preference determinant in Table 4.10, r

was a very weak positive relationship, close to zero indicating little to no correlation

between the two variables. The P value was also above 0.05 (P = 0.612), a clear

29

indication that there was no statistical significance between the two variables tested

against each other in the table below.

Table 4.10: Correlation Analysis (package dimension vs. product manufacture location)


design/shape of the package is

attractive.

I purchase cosmetic

products of locally



design/shape of the package

is attractive.

Pearson

Correlation 1 .052


N 99 99

I purchase cosmetic products

of locally established

companies.

Pearson

Correlation .052 1


N 99 99

Table 4.11: Correlation Analysis (package dimension vs. product manufacture preference

location)

I buy a product

because the

design/shape of the


Cosmetic products






is attractive.



N 99 99

Cosmetic products



manufactured

internationally.



N

99 99

In Table 4.11, the second consumer choice preference alternative was measured against

the research objective of package dimension and the results showed a very weak positive

relationship, almost close to zero (P = 0.112) which indicates no correlation between the



variables.

30

Table 4.12: Correlation Analysis (package dimension vs. consumer price consideration)




Price determines my

choice of cosmetic

products.



is attractive.

Pearson Correlation 1 .235*


N 99 98



Pearson Correlation .235* 1


N 98 98

*. Correlation is significant at the 0.05 level (2-tailed).

When the third aspect (price) was tested against the aspect of package dimension, the

correlation coefficient depicted a weak positive relationship (r = 0.235) between the two

variables. This relationship was however statistically significant, with a P value of less

than 0.05 (P = 0.020).

Table 4.13: Correlation Analysis (package dimension vs. product proximity)




I purchase cosmetic


close proximity.



is attractive.



N 99 96

I purchase cosmetic


close proximity.



N 96 96

Table 4.13, an analysis between the aspect of package dimension and product proximity

yielded a result with a correlation coefficient that was positive but very weak(r = 0.026).



Table 4.14: Correlation Analysis (package dimension vs. brand familiarity)

31




I purchase cosmetic


brands.



is attractive.



N 99 99

I purchase cosmetic


brands.



N 99 99

Table 4.14, an analysis between the aspect of package dimension and brand familiarity




4.5 Analysis of the Product Information

The final specific research objective in this study was the influence of a product

package’s information on consumer choice. The results emanating from the study

revealed that the product information on a package was viewed favorably in relation to

consumer choice of cosmetic brands, with a cumulative score of the ‘agree’ and

‘strongly agree’ options at 89.8% as illustrated in the figure below.

Figure 4.7: Frequency Distribution of Product Information

32

The aspect of information yielded fairly close statistical results when an analysis was

carried out. The mean debuted at 4.38, the median at 4.0 and the modal value at 5. These

three measures of central tendency seemed to depict close similarity. The measures of

dispersion (variance and standard deviation) accumulated to values of .485 and .696

respectively, from the mean value. The skewness of the data was negative, averaging at -

.859. The table below further illustrates these results.

Table 4.15: Statistical Analysis of Information

N Valid 98

Missing 2

Mean 4.38

Median 4.00

Mode 5

Std. Deviation .696

Variance .485

Skewness -.859

Std. Error of Skewness .244

Range 3

With respect to correlation, the analysis revealed a weak, positive correlation with a

statistically significant relationship between an individual’s product choices based on the

product information provided on the package. The results showed a weak positive

correlation value (r = 0.284) with a P value of less than 0.01, indicating the existence of

statistical significance. The results are illustrated in Table 4.16 below.

Table 4.16: Correlation Analysis (package information)

I will buy a product

because the label on

the package is clear.

A label whose information

tells more about the product

appeals to me.

I will buy a product because

the label on the package is

clear.



N 98 96

A label whose information

tells more about the product

appeals to me.



N 96 96


33

Table 4.17: Correlation Analysis (product information vs. product manufacture location)

Product information

on the package is

important to me.

I purchase cosmetic products of

locally established companies.

Product information on the

package is important to me.



N 98 98

I purchase cosmetic

products of locally




N 98 99

Based on the first alternative consumer choice preference determinant in Table 4.17, r

was a very weak positive relationship, close to zero indicating little to no correlation

between the two variables. The P value was also above 0.05 (P = 0.681), a clear

indication that there was no statistical significance between the two variables tested

against each other in the table above.


preference location)

Product

information on

the package is

important to me.

Cosmetic products








N 98 98

Cosmetic products



manufactured

internationally.



N

98 99

In Table 4.18, the second consumer choice preference alternative was measured against

the research objective of product information and the results showed a very weak positive

relationship, almost close to zero (P = 0.122) which indicates no correlation between the


34


variables.

Table 4.19: Correlation Analysis (product information vs. consumer price consideration)

Product information

on the package is

important to me.

Price determines my

choice of cosmetic

products.





N 98 97





N 97 98

When the third aspect (price) was tested against the aspect of product information, the

correlation coefficient depicted a weak positive relationship (r = 0.154) between the two

variables. This relationship was not statistically significant, with a P value of more than

0.05 (P = 0.133).

Table 4.20: Correlation Analysis (product information vs. product proximity)

Product information

on the package is

important to me.

I purchase cosmetic


close proximity.





N 98 95

I purchase cosmetic


close proximity.



N 95 96

Table 4.20, an analysis between the aspect of product information and product proximity

yielded a result with a correlation coefficient that was positive but very weak(r = 0.049).



35

Table 4.21: Correlation Analysis (product information vs. brand familiarity)

Product information on

the package is

important to me.

I purchase cosmetic


brands.





N 98 98

I purchase cosmetic


brands.



N 98 99


Table 4.21, an analysis between the aspect of product information and brand familiarity

yielded a result with a weak positive correlation coefficient (r = 0.262). Since the P value

was less than 0.01 (P = 0.009), then it can be concluded that the relationship between the

two is statistically significant.

4.6 Cumulative Analysis

Since the three specific research objectives stem from the purpose of the study, that of

determining the role played by product packaging in consumer choice of cosmetic brands,

it was fundamental to assess the relationship among the specific objectives. The table

below shows the analysis drawn from the data collected.

Table 4.22: Correlation of Specific Research Objectives (graphics, dimension and

information)

Graphics Dimension Information

Graphics Pearson Correlation 1 .374** -.091

Sig. (2-tailed) .000 .375

N 100 99 98

Dimension Pearson Correlation .374** 1 -.049

Sig. (2-tailed) .000 .632

N 99 99 98

Information Pearson Correlation -.091 -.049 1

Sig. (2-tailed) .375 .632

N 98 98 98


36

Based on the table above, the aspect of graphics and dimension reveal a weak positive

correlation coefficient of 0.374. The statistical significance between the two is valid since

the P value is less than the prescribed 0.01 limit. The aspect of information in relation to

graphics revealed a weak negative correlation of 0.091, and since its P value is greater

than 0.01, the relationship between information and graphics is not statistically

significant. Again, information and dimension yielded a weak negative correlation of

0.049, and with a P value greater than 0.01, there was no statistical significance between

those two objectives. It is thus safe to say that information has no relationship with either

graphics or dimension.

Finally, a regression analysis was conducted to determine the ability of product packaging

variables in influencing consumer choice of cosmetic brands. The result is as follows:

Table 4.23: Model Summary

Model R R Square Adjusted R Square Std. Error of the Estimate

1 .320a .102 .073 .917

Table 4.24: ANOVAa

Model Sum of Squares df Mean Square F Sig.

1 Regression 8.895 3 2.965 3.526 .018b

Residual 78.198 93 .841 Total 87.093 96

Table 4.25: Coefficients

Model

Unstandardized

Coefficients

Standardized

Coefficients

t Sig.

95.0% Confidence

Interval for B

B Std. Error Beta

Lower

Bound

Upper

Bound

1 (Constant) 1.465 .749 1.957 .053 -.021 2.952


colour/artwork of the

package is attractive

.136 .093 .155 1.461 .147 -.049 .322



is attractive.

.189 .109 .184 1.736 .086 -.027 .405


package is important to me. .241 .135 .177 1.792 .076 -.026 .508

37

Tables 4.23 through to 4.25 are results obtained from a regression analysis undertaken

with the dependent variable (consumer choice) being tested against the three specific

research objectives (graphics, dimension and information). The purpose here is to

ultimately focus the interpretation of the results to test the hypothesis of this study (Null

hypothesis-Hₒ: there is no association between product packaging and consumer choice of

cosmetic brands).

Table 4.23 indicates an R Square value of 0.102, an indication that the three research

objectives that govern this study can only account for 10.2% of the dependent variable

(consumer choice). Table 4.24 indicates a significance value of 0.018. Since this is less

than the recommended 0.05 limit, then the outcome of the study is statistically significant.

Table 4.25 lays out each independent variable (graphics, dimension and information) with

the following linear equations:

Graphics (y = .136x + 1.108)

Dimension (y = .189x + 1.108)

Information (y = .241x + 1.108)

Thus, for every unit of consumer choice (y) there is a contribution of .136, .189 and .241

of graphics, dimension and information, respectively in the positive direction. The level

of significance (P) for each independent variable against consumer choice is higher than

the generally accepted 0.05 limit, but since the researcher set the P value at 0.1 (where P

≤ 0.1), the cumulative P value of the independent variable indicates a value lower than

0.1, with the analysis setting it in Table 4.24 at 0.018. The analysis therefore concludes

that the researcher rejects the null hypothesis in favour of the alternative hypothesis

(There is an association between product packaging and consumer choice of cosmetic

brands).

With a better understanding of the outcome of the study, below are graphs indicating the

respondents’ sentiments on other factors they consider when purchasing cosmetic

products, other than packaging.

38

Figure 4.8: Frequency Distribution of Product Manufacture Location

Based on the table above, slightly over a third of respondents (37.4%) purchase cosmetic

products manufactured locally, while the distribution should a slight majority on neutral

ground and in disagreement with the option of cosmetic purchase of locally manufactured

goods.

Figure 4.9: Frequency Distribution of Product Manufacture Preference Location

When respondents were asked their view perceived product quality of cosmetic brands,

close to half of them (47.4%) indicated that they did not agree with the view that products

39

manufactured locally have a higher quality than those manufactured international.

Approximately 36% of them were indifferent to this view while 16% concurred with the

statement put across to them.

Figure 4.10: Frequency Distribution of Consumer Price Consideration

On the matter of price sensitivity, 65% of respondents felt it a necessary aspect when

determining their choice of cosmetic brands. 22% were indifferent while 13% disagreed

with the statement.

Figure 4.11: Frequency Distribution of Product Proximity

40

As pertains the consumer’s proximity to cosmetic product retailers/shops, 40% affirmed

that it was a factor in purchase consideration. Another 40% of respondents were

indifferent to the matter while almost 20% did not agree that proximity played a role in

their choice of cosmetic brands.

Figure 4.12: Frequency Distribution of Brand Familiarity

Lastly, with respect to cosmetic product purchase based on brand familiarity, 80% of

respondents felt it was essential in determining their choice of cosmetic brands. 16% were

indifferent to the fact while only 3% disagreed with its bearing on their purchase choice.

4.7 Chapter Summary

This chapter has tackled an important aspect of the study; that of statistically analyzing

the responses received by the sample population and subjecting it to various measures of

description and inference to determine the status of the hypothesis, ultimately setting the

direction in which the research shall progress. Statistically, this chapter has endorsed the

purpose of the study by rejecting the null hypothesis. The succeeding chapter will discuss

the outcome for further understanding so as to draw conclusions from which inference on

the study can be made.

41

CHAPTER FIVE

5.0 DISCUSSION, CONCLUSIONS AND RECOMMENDATIONS

5.1 Introduction

In the previous chapter, the results emanating from the study were analysed, presented

and interpreted in aiding the basis on which to structure the outcome of this study. In this

final chapter, deductions and inferences will be made from the analysis carried out in

preceding chapter and related to factors previously held true in other researches, as were

outlined in the second chapter of this study. In conclusion, recommendations will be

made for improvement of future research and study.

5.2 Summary

Numerous industries in the cosmetic realm spend vast amounts of resources in product

packaging due to the fact that it serves a marketing role in the increasingly competitive

consumer market. The researcher was keen in understanding the vital role of packaging

within the spheres of consumer related products, and several questions arose from this

inquisition; with the array cosmetic products lined up in numerous rows and from one

aisle to another in retail stores, what drives consumer choice in selecting one item out of

other seemingly similar options? If, supposedly, all other factors were held constant

(price, quality, quantity etc.), what then informs the consumer, standing in front of a wide

selection of cosmetic products, to decide which particular item to purchase? The

researcher’s assumption was that there might be a significant connection between a

package and consumer choice, in a manner to say that a well-designed product would

attract a consumer’s attention to the point of causing a purchase decision. That said, the

purpose of this study was to determine the influence that product packaging has when it

comes to consumer choice of cosmetic brands.

In order to bring the aspect of product packaging into perspective, it was essential to

create variables (components) that supported the concept of a ‘product package’.

Inquisition into literature from similar studies revealed aspects such as colour, artwork,

typography, design, technology, information and functionality among other elements.

Through an assessment of major package characteristics, three aspects surfaced

42

repeatedly; colour, artwork, design and information. With this aspects selected to

structure the concept of product packaging, three research objectives were designed to

govern the scope of the study in question. The first one combined colour and artwork,

referring to it as ‘graphics’, and as such attempting to determine the role that it played in

consumer choice of cosmetic brands. Secondly, the researcher coined ‘dimension’ as a

component of packaging; bringing together another two apparently similar characteristics,

that of design and shape. The third and final component was information. These three

components (variables) acted as the pillars that would represent the concept of

‘packaging’ in testing its relationship with consumer choice with respect to cosmetic

brands.

The methodology undertaken in this study had several aspects. The research employed a

descriptive research design so as to further understand the phenomenon experienced in

the consumer market, and which informed the inquiry posed by this study. The population

under focus was the undergraduate student population of USIU-A, who totalled

approximately 5,000 individuals as at February 2015. The researcher felt that this

population, being representative of different cultures and characteristics by having

students of varied nationalities, may shed more light in understanding consumer

behaviour patterns, especially since the cosmetic industry was not an exclusively local

affair, but served by both international and local corporations. The sample constituted 100

undergraduate students from the institution. Data was collected at a primary level through

the use of closed ended questionnaires and was analysed using the Software Program for

Social Scientists (SPSS). Descriptive and inferential statistics were utilized in the analysis

and ultimately in determining the status of the hypothesis set out in the study.

Some of the major findings that emanated from the analytical process was that majority of

the respondents indicated that they considered product packaging played a role in their

purchase decisions of cosmetic brands. This was further supported by statistics, which

indicated that a positive relationship existed between the packaging components of

graphics, dimension and information, and consumer purchase choice.

43

5.3 Discussion

5.3.1 The Influence of Graphics on Consumer Choice

With respect to package graphics as the first independent variable in this study, the

outcome of the previous chapter indicated a generally favourable view towards the impact

of graphics in consumer purchase decisions of cosmetic products. This outcome had been

earlier supported by several authors, with an acknowledgement to the crucial part played

by a package within the marketing function.

This study assessed package graphics on two fronts; colour and artwork. When it came to

the aspect of colour, several facts came up in course of this research. Colour has found a

way of fascinating various academicians and behavioural scientists; regardless of the

colour preferences of different people, it is irrefutable that colour ignites a level of

interest in people (Mehta & Zhu, 2009). This study concurred with this a majority of

respondents indicating the important role that colour played in their product selection

process. However, the notion of Ampuero and Vila (2006) that dark coloured packaging

signified elegance and higher product quality was not supported by the respondents in this

study. Though this fact may hold true for selected consumable items, it is clear that there

is higher preference for products with bright colours with warm hues when it comes to

cosmetic packaging. Since cosmetic products are essentially used to improve physical

appearance, it is important that they appear bright, attractive and vibrant. It is in their

ability to look fun and exciting that pulls at a consumers’ attention.

A correlation between a package colour and the product it contains or the brand it belongs

to has also proved vital. The package falls between two spectrums; to communicate the

brand which it represents and to introduce to the consumer the product they will interact

with upon purchase. As such, the ability of the package to merge these two concepts and

create a seamless continuity from one end to the other is important to the consumer

subconscious need for ‘flow without interruption’ (Rocchi & Stefani, 2006). A twist is

also introduced with the prospect of having a see through package that minimizes the use

of vibrant colour to call at a consumer’s attention. See-through packaging allows for one

to see exactly what they are buying and this has had an influence in how trustworthy a

manufacturer is considered when choosing to use a transparent package. It is a bold

statement; that of a firm confident in the product they put before the consumer. There is

44

simply no need to have many theatrics when the product can automatically sell itself

(Sevilla, 2012).

Another subset of the aspect of graphics that was put to test in this study is the use of

artwork in product packaging. It is evident that art carries with it an air of elegance and

refined sophistication. In ancient and medieval times, art was viewed as an affiliation of

the high and mighty. This perspective has trickled down over time where art has become

synonymous with ‘an expensive affair’ and where activities related to collecting valuable

paintings can easily be summed into enormous financial gains. The trick however lies in

tapping into this perceived value and creating a merger between that and product quality.

Consumers have proved this possible by feeling the affluence of product packages that

contain artwork; it feels like a piece of royalty, the ability to own something that might as

well be a collectible piece is satisfying (Dairy Managemnt Inc., 2001; Hagtvedt &

Patrick, 2008). There is simply no said association between various forms of art; abstract

or otherwise, art is art, art is beautiful. It will be seen and appreciated regardless of where

the product package designer chooses to position it. Artwork can therefore be

manipulated by marketers in the quest to communicate sophistication and exemplary

product value. Focus should however be placed in the ability of the artwork used on a

package to relate the package with its brand and with the product within. Respecting the

force played by this human need for coninuity cannot go unattended to.

Graphics are thus integral within the packaging world, stretching their reach of influence

through various spectrums to create an ultimately appealing product. In any case, it all

lies in image; you can only have one chance to make a powerful first encounter with your

consumer.

5.3.2 The Role of Dimensions on Consumer Choice

Package dimension can be discussed either with respect to package shape or design; the

two have been used synonymously and consequently perceived as one and the same. This

study made one aspect very clear when looking at human perception towards package

design and perceived value; the less it appeared symmetrical, the more likely one was to

be drawn towards it. Earlier in the second chapter, the Gestalt Principles of ‘the unified

whole’ was discussed and related to expectations of human perception and consequently

consumer behaviour. In the spirit of respecting the need for symmetrical order, the

principles indicate that human interest is drawn to what appears complete in terms of

45

being whole or complete. In this case, something abstract and different will be viewed as

odd and lacking structural continuity hence the mind will perceive it as an anomaly

(Spokane Falls Community College, 2013). However, this study has shown that the

opposite is actually true; though the mind will actually recognize an anomaly of one item

among seemingly ‘perfect’ alternatives, the anomaly will evoke interest and lead to

purchase of a cosmetic product with the said characteristic. With this mind, the marketer

is thus better off breaking various rules of symmetry and tending towards more whimsical

shapes and designs when setting out to present the market with a unique product. It is the

unique aspect about the package that nags at an individual’s interest; their need to want to

unravel and understand it, has proved to cause consumer choice. Though a symmetrical

product may create order in product shipment and storage, which is important as it moves

through the supply chain (Kotler & Armstrong, 2010), it is important for the consumer to

look at something with a touch of mischief in it that can go to the extent of carrying a

decorative feature. Hill (2011) and Underwood (2011) discuss the role of the package

after the purchase process and possibly after the product has been exhausted; the need to

want to keep the package due to other reasons elongates the marketing process and makes

the product more viable as a functional capacity and as a design feature in the home for a

long time to come.

When it comes to perceived product quantity, this study revealed that shape design of

product packaging had no relation with the amount of the product contained within. This

would mean that a measure of weight would serve as a better determinant of product

quantity rather than a mere assumption of what a particular design is likely to contain.

The design should however not look like there is a defect with it in the form of a missing

piece. The consumer will view at as a puzzle and as such the overall presentation of the

shape and design should appear complete regardless of its structural appearance, as was

discussed by Sevilla (2006).

5.3.3 The Influence of Product Information on Consumer Choice

Information, the final component of the product package matrix, was the most supported

aspect of this research from the responses received. It is not just a requirement, but is

tasked with explaining product features at a more personal and detail level. This detail

should however be limited to only that which is necessary and can fit on a label without

making it crowded. Just as a crowded room can tend to be overwhelming to many

46

individuals, marketers should ensure that when they design product package labels, the

structure and content of the words used depict much without the need to use too many

explanations.

Brand power is important in the consumer purchase process and thus consumer choice is

heavily governed by the presence of brand logos and trademarks. These features tend to

create trust between the consumer and the product because the item appears genuine.

Firms can incorporate the use tactics such as watermarks to create the illusion of

authenticity in their products. Ultimately, the quality of the label, and the information

held therein has a very important standing in assisting a consumer overwhelmed with

variety in a store. Once the information is included in a manner that is simple to identify

and easy to read and comprehend, then a consumer’s ability to select that item is highly

likely.

5.4 Conclusions

5.4.1 The influence of Graphics on Consumer Choice

In the assessment of product packaging with respect to graphics (colour and artwork) and

its impact on consumer choice of cosmetic brands, it can be concluded it is an important

aspect in a consumer’s decision process and holds a significant bearing in their choice of

cosmetic brands. Marketers and manufacturers should therefore regard package graphics

as an important element when designing a product’s package.

5.4.2 The Role of Dimensions on Consumer Choice

Dimensional aspects of a product’s package, with a focus on the item’s shape and design

features play a measurable role in consumption behavioral patterns. It is as such

fundamental that in the formulation of product package dimensions, marketers and

manufacturers should remember to factor in consumer preference of the said aspect so as

to drive increased product consumption.

5.4.3 The Influence of Product Information on Consumer Choice

Information, in the outcome of this study has depicted itself as the most important factor

in packaging. Consequently, key focus should be placed on the quality of information that

is included on a product’s package due to the role it plays in the consumer purchase

process.

47

With all the above discussions relating to product packaging variables, it can be

concluded that in support of the alternative hypothesis (there is a relationship between

product packaging and consumer choice of cosmetic brands) firms in the cosmetic

industry are justified in their efforts of designing attractive packaging in a bid to attract

consumer interest and evoke purchase decision. The packaging variables have shown

their importance both independently and cumulatively in communicating product quality

and features in a manner that is competitive. As such, marketers cannot rule out the

importance of the marketing role played by a package in enhancing product awareness

and creating an edge for the same among its various competitors and its role actualizing

visibility and attractiveness, while communicating quality and dependability in the mind

of the consumer(Ampuero & Vila, 2006; Rundh, 2009; Jafari, Sharif, Salehi, &

Zahmatkesh, 2013). Therefore, as effort is placed in other aspects of product packaging

such as technology, and further across the marketing function with respect to advertising

and promotion, it is clear that packaging has curved out its place as a feature, more

important than merely serving a shipment and protection role for the product in which it

contains (Kotler & Armstrong, 2010), worth research, development and improvement

with the changing dynamics of consumer behaviour and related market driven forces.

48

5.5 Recommendations

5.5.1 Recommendations for Improvement

5.5.1.1 The Influence of Graphics on Consumer Choice

The assessment of the graphical aspect could have been improved in this study through an

exclusive assessment of the impact of colour and artwork, from a psychological

perspective in order to create a clearer understanding of consumer perceptions as

governed by package related graphics.

5.5.1.2 The Role of Dimensions on Consumer Choice

With specific regard to the dimensional aspects of product packaging, further analysis

should be undertaken in the influence of package shape and design, as independent

aspects of the product contained therein. This would go a long way in informing

marketers and manufacturers on the dimensional trends of the consumer market based on

the outcome they anticipate to make.

5.5.1.3 The Influence of Product Information on Consumer Choice

The aspect of information has been previously discussed as the most important package

variable within the confines of this study. A further look into consumption perception of

information and its intrinsic interpretation may go a long way in informing marketers and

manufacturers on how to structure the informational element of a product’s package in a

manner that meets consumer needs within any given market.

5.5.2 Recommendations for Further Studies

While formulating the parameters of this study, other aspects of packaging may be worth

academic inquisition such as the role of package technology on consumer choice.

Alternatively, would be the option of looking into other consumables that highly

depended on packaging for their marketing functions, especially those restricted from

certain promotional efforts like alcoholic products and tobacco related brands. Aside from

packaging, other marketing areas that strongly came out in the course of this study was

the role of positioning strategies on consumer choice. Positioning in this respect would

49

entirely be on the physical front, in terms of how and where products are arranged in a

retail store and how that affects consumer behavioural patterns.

50

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53

APPENDIX

APPENDIX I: QUESTIONNAIRE: COSMETIC PACKAGING

(To the respondent: Kindly note that this questionnaire will be exclusively used for purposes of

this study and your information will remain confidential and undisclosed to any other source.)

INSTRUCTIONS: Answer the questions below by selecting the appropriate response.

SECTION A: Personal Information

1. Please select your gender. [MALE] [FEMALE]

2. Please select the age bracket you fall in.

[Below 18 years] [18-28 years] [29-39 years] [40 years and above]

3. Please select your monthly income/allowance level a month in Ksh.

[0-20,000] [20,001-50,000] [50,001 and above]

54

SECTION B: Graphics (Colour and Artwork)

This section looks at the aspect of colour and artwork and to what extent it influences your

purchase decisions of cosmetic brands. Tick, on the scale provided a response that meets your

level of agreement to the statements.

STATEMENT

Str

on

gly

Agre

e [5

]

Agre

e[4

]

Neu

tral

[3]

Dis

agre

e [2

]

Str

on

gly

Dis

agre

e [1

]

I buy a product because the colour of the package

is attractive.

I feel that a dark coloured package contains a

product of higher quality.

Warm coloured packages (red, orange, yellow)

appeal to me.

The package colour should relate with the product

it contains.

The package colour should relate with the brand

colours.

I prefer a package that is see-through.

Artwork appeals to me.

Artwork communicates elegance.

I buy a product because the artwork on the


A package with artwork communicates a product

of high value.

Artwork on a package should relate to the product

in the package.

I prefer artwork over a pictorial image on a

product package.

A package with structured symmetrical shapes

communicates higher value.

I will recall artwork better if it is placed on the

right hand side of a package.

55

SECTION C: Dimensions (shape and design)

This section looks at the aspect of shape and design and to what extent it influences your



STATEMENT

Str

on

gly

Agre

e [5

]

Agre

e [4

]

Neu

tral

[3]

Dis

agre

e [2

]

Str

on

gly

Dis

agre

e [1

]

I buy a product because the design/shape of

the package is attractive.

A package design/shape that is abstract

appeals to me.

A package design/shape that is decorative

appeals to me.

The package design/shape is an indicator of

the value of the product brand.

An extravagant design/shape of a product’s

package communicates superior quality.

A package with a shape/design that appears

large has a higher quantity of the product

inside it.

The more interesting the design/shape of the

package is, the more likely I am to purchase

it.

I prefer a product whose design/shape appears

complete/whole.

I consider if the design/shape of the package

is functional before I purchase it.

I will purchase a product because the package

design/shape is attractive even if I do not need

the product.

56

SECTION D: Information (labels)

This section looks at the aspect of information/labelling and to what extent it influences your



STATEMENT

Str

on

gly

Ag

ree

[5]

Ag

ree

[4]

Neu

tral

[3]

Dis

ag

ree

[2]

Str

on

gly

Dis

ag

ree

[1]

I will buy a product because the label on the package

is clear.

Product information on the package is important to

me.

The information on a package is more believable than

when I see/read it on an advertisement.

Brand logos and trademarks play a role in my

purchase decision.

An attractive label on the product package appeals to

me.

A label can assist me to determine the quality of the

product in the package.

I will recall product information better if the label is

on the left hand side.

A label crowded with too much information does not

appeal to me.

A label whose information tells more about the

product appeals to me.

A label with a watermark makes a product appear

more genuine.

57

SECTION E: Consumer Choice

This section looks at consumer choice and to what extent it influences your purchase decisions of

cosmetic brands. Tick, on the scale provided a response that meets your level of agreement to the

statements.

STATEMENT

Str

on

gly

Ag

ree

[5]

Ag

ree

[4]

Neu

tral

[3]

Dis

ag

ree

[2]

Str

on

gly

Dis

ag

ree

[1]

I purchase cosmetic products of locally


Cosmetic products manufactured locally have a

higher quality than those manufactured

internationally.

Price determines my choice of cosmetic

products.

I purchase cosmetic products that are within

close proximity.

I purchase cosmetic products with well-known

brands.

Documents

THE EFFECT OF PRODUCT PACKAGING ON CONSUMER CHOICE …