To fulfill the demands of affluent and intelligent clients wanting unforgettable experiences, the hospitality and tourist businesses must reinvent and reposition their offerings. For the effective redesign, a greater knowledge of the nature of the travel experience is required. This research looks at the 4 realms of tourism experience theories as a framework for studying tourism experiences. When evaluated on actual visitor involvement in events, the four proposed worlds appear to exist, although engagement in one realm does not exclude participation in another. Let’s follow us right now!
4 Realms of Tourism Experience
Consumers are absorbed in the surroundings but do not participate in them during esthetic experiences (Pine & Gilmore, 2011). Pop-up store interior design, store exterior design, and atmospherics are critical “to provide the buyer an immersive experience” (PicotCoupey, 2014:655). Pop-up stores, in particular, may provide customers with an aesthetic experience since they are filled with immersive elements such as distinctive and interesting stores and ambiance (Jeong, Fiore, Niehm & Lorenz, 2009; Kim et al., 2007).
According to Retief (2012), the outside design of pop-up shops influences consumer intent to visit them. Esthetic experiences provided by the physical environment might also impact consumers’ desire to patronize retailers (Sadachar & Fiore, 2018), demonstrating a link between the esthetic sense of a pop-up setting & intent to patronize the store.
Escapist experiences are the contrary to entertaining experiences in that they require complete immersion and active engagement in activities (Pine & Gilmore, 2011). According to Fiore and Ogle (2000:40), retail spaces provide customers with an “alternative existence.” The pop-up shop may transport people to another universe and help them to avoid reality (Kim et al., 2007).
Consumers are attracted in by the show, as the excitement and novelty created by pop-up businesses allow them to escape reality (De Lassus & Anido Freire, 2014). Many customers desire shopping experiences that give an escape from the humdrum, and going to stores allows them to “search, stalk, chase down, touch, feel, and engage with things that could fit into their life” (Valas, 2004: 26).
This sort of encounter provides hedonic value to otherwise utilitarian purchasing and assists in distinguishing one brand name from the other (Klein, Falk, Esch & Gloukhovtsev, 2016; Ryu, 2011). Escapist experiences (e.g., adventure, fantasy, fun, surprise) built into pop-up retail satisfy customers’ hedonistic requirements and have also been favorably connected with people patronizing pop-up stores.
Consumers participate passively and are captivated by their senses in entertainment events (Pine & Gilmore, 2011). Consumers are increasingly seeking enjoyable shopping experiences in order to feel fulfilled (Schmitt, 1999). Entertainment is an excellent method to create a memorable customer experience and allows merchants to distinguish their pop-up store surroundings by incorporating live performers, interactive activities, or unusual scenery (Kim et al., 2007).
According to Picot-Coupey (2014:656), pop-up merchants frequently employ “events involving artists and community organizations as a technique of generating long-lasting memories.” Pop-up stores have efficiently met consumers’ entertainment needs by incorporating engaging aspects such as fun activities, thrilling events, and a festive ambiance (Pomodoro, 2013; Taube & Warnaby, 2017).
The consumer’s emotional connection to entertainment might be long-lasting (Pine & Gilmore, 2011). When customers are immersed in an experience and love it, they are more inclined to return for more & continue to support the shop.