Understanding Indirect Brand Experience

Abstract

One of the most impactful ways to conceptualise brands is to think of the array of touchpoints, such as logos, packaging, and products, as stimuli for experiences. By considering all brand stimuli as triggers for an experience, it places greater attention on how these interactions might translate into feelings, thoughts, and actions. Such experiences, however, can differ greatly in relation to their level of involvement. Distinguishing between the different types of experiences, specifically in relation to whether the experience is the result of a direct interaction or an indirect interaction, is an essential consideration for brand managers. Indirect brand experience refers to the way in which individuals perceive and interact indirectly with a brand, typically through content not directly controlled by the brand. In this chapter, we discuss the importance of brand experience, and highlight the crucial differences between types of experience, particularly those that we term indirect brand experience. Using material from a case study of Bavarian Motor Works (BMW), we classify the four forms of indirect brand experience. By using real-world examples, we illustrate the importance of distinguishing between types of experience to facilitate a more expansive approach to the management of brand experience.

1. Introduction

When we interact with a brand, we do so through a brand’s identity, its products, services, personnel, or digital interface [1]. These touchpoints, often referred to as brand-related stimuli, can affect how we think, feel, and behave. This stimuli-sensory exchange is conceptualised as brand experience, which is our individual, subjective response to an aspect of a brand [2]. As experiences of a brand accumulate over time, past and present experiences are assimilated and inform future expectations of any interaction. It is this periodic interaction between the brand’s output and the user’s experience of the touchpoints that constitutes what people understand as the brand [3].

While brand experience is based on the various aspects of the brand identity, not all stimuli are controlled by the brand. An increasing amount of online material is generated by individuals who, through their own experience of brands, relay their experience in a way that can influence the expectations and perceptions of their audience [4]. By sharing their own experience through various platforms with others, followers and observers get to participate indirectly in the experience. Such third-party, nonauthorised, content can contribute to the experiential realm of branding and therefore introduce additional considerations within the management of brand experience. As brand-related stimuli have grown to accommodate the proliferation of online sources of influence, there needs to be a clearer distinction between the different types of brand experience [5].

The aim of this chapter is to explore the importance of brand experience and discuss how online content has changed our experience of brands considerably. This discussion is expanded through an examination of the numerous types of interactions that can be classified as being an indirect brand experience. By using BMW as a case study, we outline the distinctions between the types of brand experiences and illustrate how these interactions serve a number of purposes that can be pivotal in shaping the overall experience.

1.1 The salience of brand experience

For many years, the concept of branding was narrowly conceived as being product orientated, particularly in relation to the fast-moving consumer goods that we buy in supermarkets [1]. The competitive thinking around such items was concerned with introducing the features and benefits of products to make the offerings more appealing [1]. Over time, it became apparent that although features and benefits continue to remain relevant, products and services were triggers for experiences [6]. This shift in thinking, prompted by Pine and Gilmore’s emphasis on experience [7], made brands consider the impact of their goods and services in terms of the experience they deliver to users and consumers [8].

For example, when an individual drinks Coca-Cola, the product is consumed for a specific taste experience. Likewise, when people choose to watch a Netflix show, the activity is a means of attaining an entertainment experience. While Coca-Cola and Netflix are consumed for different reasons, they both deliver an experience for the consumer. We can understand brand experiences as having four dimensions: sensory, affective, intellectual, and behavioural [2]. In other words, our experience of brands is triggered through sensory stimulation: via what is tasted, seen, heard, touched, and smelled; intellectual stimulation: what we think in response to stimuli; affective stimulation: what we feel in response to triggers; and behavioural: what we do as a result of exposure to brand stimuli [2].

Besides products and services, brands produce a broad array of touchpoints that form part of their brand identity, including visual manifestations, physical interactions, and virtual communications. This includes packaging, logos, names, advertisements, websites, indeed all materials relating to the output of a brand [2]. Each of these aspects of brand output relates to different senses that provide a more or less rich sensory experience: physical settings tend to enable touch and smell, in addition to sight, sound, and touch, whereas virtual settings are limited in touch and smell. In many services, there are inherent limitations to sensory stimulation; engaging with Amazon generally involves no taste or smell (unless purchasing an Amazon-endorsed foodstuff or fragrance). Visiting a hairdresser is likely to involve environmental and product-derived smells but most likely no taste, unless refreshments are provided as part of the service.

The same limitations apply to our experience of purely online brands [9]. While digital brand experiences involve visual and audio content, there are limitations with smell, taste, and touch, which reduce the sensory nature of the experiences. Digital brands, however, are not alone in their limited sensory stimulation: household cleaners such as bleach are not designed to deliver a taste sensation, or to be satisfying to touch; similarly, watches do not delivery an olfactory experience nor satisfy the taste buds. Tangibility, therefore, does not ensure a rich immersive experience in the same way that an online experience does not preclude having an immersive experience. For instance, playing video games, such as Formula One racing, provides an approximate experience that, although not identical to the real thing, can still provide an exhilarating experience.

2. Virtual brand experience

While the aforementioned collective output of official touchpoints has the capacity for triggering feelings, sensations, thoughts, and actions [2], such brand identity triggers primarily highlight the controllable brand manifestations designed by the brand. The rise of Web 2.0, however, has democratised the ability for individuals to create content and connect with an audience, which is impacting how brands are perceived and experienced [10]. Consider how a great deal of online user-generated content is based on product reviews, such as an individual’s experience of using a piece of technology or the every-day experience of driving a particular vehicle, for instance. Such content can influence how an audience who views this content might think about these products and brands, particularly if the content creator is considered a credible source of knowledge in the area of interest [11].

Online content generated by individuals unconnected to a brand can be seen as more independent and unbiased, providing a better sense of trustworthiness that is not attainable by brand-created content [12]. Furthermore, if content creators are respected within their area of expertise and have established trust with their followers, their views, recommendations, and criticisms can be very persuasive. In these circumstances, content is often sought out by followers and is therefore not subject to being filtered like official advertisements and other brand-generated content.

In addition to being persuasive, the content can reveal the creator’s response to ‘unboxing’ or using the products and services in such a way that, alongside a critique, the experience and emotions can be readily captured through the lens of the influencer [13]. A key example of this can be seen in vehicle reviews, whereby the driver relays their experience of driving directly to the camera, alongside a level of critique that reflects their expertise in the area. This type of media-rich content typically evokes keen comments approval and demonstrates a level of emotional engagement from its viewers that is mostly unattainable from static poster advertisement for the same vehicle.

2.1 Indirect brand experience

The ability for emotions and sensations to be experienced through video content can be seen in entertainment content, particularly in sport and movies, where the audience get to vicariously participate through observation of the actual experience [14, 15]. This consumption of experience is akin to watching an opera or an orchestra or a sports event on TV without being physically present in the audience of the event; nonetheless, the broadcast experience provides an indirect, albeit less sensorily rich experience of the event. Viewing this type of indirect experience of a brand enables the audience to vicariously experience the brand [16].

This observational process of seeing others engage in an experience to gain an understanding of how this experience might be for themselves is especially pronounced if the viewer has familiarity with the subject matter [17]. A useful example of this can be seen in the video reviews of GoPro’s high-definition cameras and their use in extreme sports; viewers who share this interest and have a need for such a device will glean an indirect experience of the device through the observation of a creator’s content. Content of this type is likely to be similar to an official advertisement by the brand, in terms of illustrating the product in use. However, the difference between user-generated content and an official advertisement is the independence: viewers know that brand-produced content reflects a vested interest, whereas independently generated content is more likely to be less biased and present a more honest and trustworthy account of the brand [18].

This type of independent content would be considered part of the brand image—the external, shared perception of a brand that is not directly controllable by the brand. Official brand-produced content, on the other hand, would be classified as part of the brand identity because it would be controllable output: its precise composition is entirely the control of the brand. The management of these two types of brand experience therefore needs to adopt different approaches: Direct brand experience can be managed by the brand, whereas indirect brand experience can only be influenced. For indirect brand experience, it is very much a case of brand managers influencing the influencers. In the following section we outline, through the use of case material, how this process can take shape.

3. Investigating forms of brand experience

BMW was used as a case study for examining how different interactions form an experience of a brand. BMW was selected as a case because it is recognised as a global organisation that is a provider of premium/luxury physical products, digital products, and complementary services. Crucially, the BMW brand is known for prioritising the user experience, as expressed through its recent straplines: ‘Sheer Driving Pleasure’ and ‘the ultimate driving machine’. Data for the case study consisted of interview data gathered from several official touchpoints, these comprising of physical visits to two UK showrooms to interview showroom personnel, a visit to the Welt Museum in Munich, interviewing staff and visitors, and interviewing visitors viewing vehicles in person. To complement these data, secondary material was gathered from a range of unofficial touchpoints, these primarily being audio and textually descriptive reviews from car review websites and unofficial social media channels, such as online brand community forums. The purpose of the secondary data was to gather a cross section of material, released online in 2021, that relayed the experience of reviewers, who in turn can shape the perceptions of their viewers.

3.1 A case study of BMW experience

As consumption increasingly migrates online, brands are making offline physical spaces more experiential, like a theme park or a museum for customers to be immersed in a memorable brand experience. Successful brand experiences induce visitors to share their experiences on social media. One pertinent example of this is BMW Welt, located in Munich, Germany. This space is not just a showroom or a dealership, it is a showcase of the brand’s rich history, its attitude to innovation and design, and a celebration of its automotive achievements. As of August 2023, BMW Welt has over 200,000 Instagram followers, with over 160,000 hashtags.

As visitors enter the sleek and modern building, they are greeted by multisensory brand stimuli. The air is filled with the unmistakable scent of new leather and polished metal, promising future automotive wonders. The more senses involved, the richer the experience. The expansive showroom floor glistens with an array of BMW models, each presented as a masterpiece of engineering and design. From the elegant lines of sports cars to the latest luxury offering, the building showcases automotive artistry that captures the brand’s essence. Here, visitors become participants in the interactive displays and exhibitions, which also chronicle the brand’s evolution, highlighting milestones and breakthroughs that have shaped the automotive landscape. Such immersive direct brand experiences serve to propagate indirect brand experiences on social media.

When this brand experience is shared by individuals online via their social media, it is consumed by viewers who gain an indirect experience of the BMW brand. While the viewing of such material online is not a replacement for a direct experience of the brand, consumption of the content can affect how audiences think and feel, and therefore inform their anticipated experience of the respective brand. This exchange of direct and indirect interactions introduces a more complex set of interactions than merely the transaction between official brand content and the consumer, leaving brands with less direct control over how their brand is perceived.

Accordingly, there is growing recognition that, as authentic brand output is not the sole source of brand experience, indirect channels have an increasingly important role to play in encouraging brand engagement, and in particular the role of social media influencers. Moreover, the perceived independence of influencers serves to augment the credibility of their views. Influencers, therefore, shape opinions in the same way that journalists, and the media at large, did during the earlier broadcast era. This form of indirect experience of brands presents a significant challenge to the management and control of brands.

Given its importance, the management of brand experience necessitates a clear distinction between the different types of experience. The brand experience for BMW can be distinguished into direct and indirect experience, as outlined in Table 1. The most direct experience of BMW would be to drive a BMW vehicle or be transported as a passenger, which would also constitute a direct experience, though with less interaction than the driver. A passenger’s experience is passive and not particularly engaged when compared to the driver’s more sensory and dynamic experience. Nonetheless, the passenger’s experience is directly related to the product and therefore the brand. Similarly, a visit to a BMW showroom, or a visit to the BMW website, would be considered a direct experience.

BMW	Direct brand experience	Indirect brand experience
Customer; touchpoints/; channels	Dealership showrooms Brand Welt museum (Munich) Driving experience centres Vehicle exhibitions Service centres Official social media accounts Website(s) Vehicles Merchandise	Unofficial social media accounts Media representation (movies) Online brand communities
Brand stimuli	Visual identity components: Advertisements Product design product videos and imagery BMW mobile apps	Other BMW owners Publicity of BMWs in media video content on social media imagery content on social media online comments/conversations
Engagement types	Product usage (driver/passenger) Service usage Interactions with staff Virtual interaction	observation of others’ driving Viewing comments on social media participating in online forums viewing video content sharing, commenting, and interacting

Table 1.

BMW’s direct and indirect brand experience.

Indirect brand experience, however, stems from online platforms that are controlled by external entities, in which the content is shaped by independent content creators. Blogs, for example, contain a wealth of comments and images that relay individual experiences and perspectives relating to the subject matter of the blog. For BMW, there are at least four different forums (e.g. bimmerforums.co.uk, bimmerpost.com, bimmerfest.com, and bmwblog.com). Video content and additional interactive commentary regarding fans of BMW are shared on multiple video websites, but primarily on YouTube. A search of the term BMW on YouTube reveals a plethora of content from general car companies that provide reviews of different vehicles (e.g., Carwow, AutoTrader, and CarExpert); ancillary auto services, such as maintenance, finishing, customisation, to independent reviewers (Joe Achilles and Petrol Ped).

As indicated in the examples mentioned above, indirect brand experience is characterised by the framing of brand stimuli by an individual. The following section illustrates how the content for triggering indirect brand experience can be classified into four categories.

4. Four types of indirect brand experience

The BMW case study illustrated the difference between direct and indirect brand experience. Although indirect brand experience can occur in a physical context, such as conversations between people (e.g. word of mouth), these experiences are isolated and lack the reach of online platforms. However, indirect brand experience that occurs online has the potential to shape the perceptions of extensive audiences, through the consumption of rich, engaging content. Website experiences enable enthusiasts and individuals to engage in virtual communities, chats, games, videos, and other online events, and enjoy a variety of meaningful experiences that can foster, or impair, brand trust [19]. As outlined in Table 2, online brand experiences can be divided into four types: depicting brand experience, relaying brand experience, creating brand experience, and exchanging brand experience.

Function	Applications	Content themes
Depicting iBX; (Brand focused)	Video narratives, such as unboxing, reflecting expertise/knowledge of reviewer. Credibility of influencer enhances the content.	Unboxing videos, brand in use, personal perspective. Invited responsive comments.
Relaying iBX (Brand focused)	Textual critique, some with photos; individual perspectives offered, aggregate power of reviews, multiple contributors.	Individual consumer reviews in response to purchase/brand experience (e.g. Amazon service experience and specific brand experience of items).
Creating iBX (activity focused)	Video narrative of brand in use, playing a supporting role, not overt review, entertainment is primary goal, credibility, individual, insightful	Content driven by activity, brand item is secondary; not solely review (e.g. extreme sports or cyclists’ use and reference to their GoPro camera).
Exchanging iBX (activity focused)	Online forums or community connected by interest in brand or activity. Examples: forums for cars, chess, anglers, etc.; bimmerforums.co.uk; bimmerpost.com; anglersnet.co.uk; mumsnet.com	Themes arise spontaneously, no curator, interactive discussion; information seeking, experience exchange

Table 2.

Typology of indirect brand experience.

4.1 Depicting brand experiences

It is a common approach for creators to post content based on their own experience with brands through time-based content (e.g. photos and videos) on platforms like Instagram, TikTok, Vimeo, and YouTube, while static content can be found across a broader array of platforms. The depiction of brand experience is when creators document their own experience of brands as a simple way to develop content for their channels. Examples of this can be seen in the prevalent ‘unboxing’ videos and accompanying photos. In order to generate greater exposure for their content, creators drive engagement across multiple platforms by using tags and hashtags to facilitate their content being more readily discovered and easily shared among their audiences and viewers. Such content in isolation, particularly if produced by a creator with only a limited profile, is unlikely to have significant influence. Creators further stimulate engagement with their content by encouraging viewers to leave comments in the relevant sections. As the impressions grow, their influence becomes greater.

4.2 Relaying brand experiences

Many retail platforms encourage consumers to post reviews of their purchases, enabling other consumers to gain an unbiased perspective of products and services to inform their decision making. Positive comments and reviews can provide additional assurance, whereas unfavourable comments can highlight issues prior to purchasing. Having recent and accurate consumer feedback gives an indication of expectations, ultimately forecasting the likely brand experience. Consumers contribute to the process because they recognise the value of having an individual perspective on the experience to inform their own consumer decision making. This collective intelligence presents a more independent and truthful account of brand experience for others.

Every comment and every review fulfil the role of social proof, an affirmation that others have embarked on interactions with the brand and found it to be an enriching or disappointing experience. The reading of other people’s stories, if richly detailed, can act as a barometer between the perceived expectations and the actual expectations as experienced by other consumers. Furthermore, a critical mass of review comments establishes a more trustworthy, collective public opinion regarding a brand. A tapestry of positive recommendations enhances the brand image, while threads of negativity cast shadows that linger in the minds of readers. Therefore, this type of indirect brand experience shapes perceptions, can build or impair brand trust, and indicate a more accurate picture of the aggregated brand experience. Accordingly, these types of review comments have a more significant impact on consumer-focused brand than on business-focused brand.

4.3 Creating indirect brand experience

Influencers who have active lifestyles or pursue hobbies that involve lifestyle products and services can use their online platform to share their lifestyle experiences and show how their choice of brands satisfies their lifestyle needs. For example, GoPro has built its brand around customer-generated content, encouraging customers to share exciting experiences using its action cameras. These individuals attract followers and viewers to their social media content by translating their active experiences into compelling stories, which enable their audience to obtain a partial experience. Similarly, some aspirational lifestyle creators, for instance, might post content of their visits to luxury hotels on Instagram or show themselves riding a supercar. This can be a typical way for influencers to increase their following by demonstrating their social status through the capturing of their lifestyle experiences. Such content enables viewers to gain an insight and partial experience of the lifestyle portrayed on screen. Other creators, for example, might post content relating to the use of a particular product group and invite others to respond, picking up on the most popular trends to increase their social media impressions. As with the previous example, such content allows viewers to observe a product in use and hear a trusted opinion on the performance of the product, which can create an informative and stimulating experience. As the number of followers increases, their accounts can grow sufficiently and begin to serve as a brand community.

4.4 Exchanging brand experiences

Online brand communities are another means of spreading brand experience through individual interaction. Brand communities often emerge as a result of customers wanting to share their interest in a favourite past-time, hobby, or sport, with like-minded individuals. Numerous forums exist that reflect interest in cars, chess, art, technology, fishing, even parenting. The primary purpose of such forums is the exchange of experiences and knowledge between its members. Fans and enthusiasts who interact on these platforms can be a vital source of market research for brands looking to gain insight into what aspects are appreciated alongside their deficiencies. In some cases, brands can consult with these communities, such as seeking feedback during research and development phases. Such feedback loops benefit both the communities and the brand, as it can establish a dialogue that is mutually beneficial. Unlike the platforms that facilitate social media influencers, brand communities are typically not curated and therefore offer a more spontaneous and dynamic exchange.

4.5 Content creation as curated indirect brand experience

These four types of content that form the triggers of indirect brand experience arise from the content developed by content creators and influencers, shared through social media platforms. Influencers actively encourage participation through chat and comment functions to make the experience interactive, enabling followers to engage directly. In unboxing videos, the audience feels like they, too, are experiencing a product by observing an influencer share their direct experience of a brand. Followers can ask influencers more detailed questions about the experience with the brand to get additional information or in response to other followers’ comments.

Furthermore, influencers adopt a curator role by selecting the products and services to review. If the influencers have expertise in a particular area, their endorsement of products and services can carry substantial weight for their followers. Their role does not end with the posting of content but includes responding to comments in the chat, further augmenting trust. From unboxing videos that capture the first moments of a brand interaction to behind-the-scenes glimpses that reveal a brand experience more vividly, they provide content that can be personal, engaging, and immersive. Their expertise and influence can result in becoming brand ambassadors, attending events, hosting meetups, and using their platform in thought leadership.

5. Conclusion

Through technological change, individuals have a platform to represent brands in a way that can shape how others perceive and experience brands. As illustrated in this chapter, there are an expanding number of ways in which we can experience brands. Many of our experiences are now shaped by agents who are independent of the brand, which can differ considerably from an experience gained through direct involvement. By describing the different types of brand experience, this chapter showed how social media can be used to evoke an indirect experience of a brand, particularly when a brand is central to the content, such as in a product review.

Blogs, forums, and user-generated content channels provide ideal platforms for individuals to reach significant audiences, especially social media influencers. The allure of social media influencers is that they present an authentic and relatable image that their followers can identify with, trust their views, and often find their content more informative and entertaining than authentic, brand-generated content. Consumers of social media content are not seeking false representations of reality, as presented in polished endorsements, but instead yearn for the honesty depicted in social media content, as it captures relatable experiences. Social media influencers inject a human touch in the relaying of their own brand experiences that vicariously translate into indirect brand experiences for the viewers. This, of course, presents additional challenges for brand managers.

While brand managers can control many aspects of their brand-related stimuli, it is not possible to control precisely what other individuals choose to do on their own social media channels. Brand managers therefore must commit adequate resource to monitoring the impressions of such activity, and identify the individuals who transmit source credibility, and show signs of growing influence. Collegiate partnering is key to influencing the influencers, steering the blogs, and nudging the forums to ensure that there is an accurate representation of the brand experience. In principle, if brands establish good relationships with their most influential social media advocates, this should feed into a positive and accurate indirect brand experience.

Acknowledgments

We would like to thank all of the BMW staff and visitors who participated in the interviews.

Conflict of interest

The authors declare no conflict of interest.