The Age of Re Enchantment

The age of
re-encha t
n ment
Emerging trends and opportunities
A REPORT BY WUNDERMAN THOMPSON INTELLIGENCE

The age of re-enchantment IntroductionWelcome 2
Welcome to the age of re-enchantment

It’s time to remake the world through the lens of re-enchantment, People have always enjoyed being transported, but crucially, there is
where the new brand metrics are jaw drops, heart swells, and now an appetite for brands to deliver this: 65% of people would like
goosebumps. Brands can help people transcend tough times brands to wow them with spectacular advertising and marketing, and
and jolt them from long-standing malaise by celebrating the 61% want brands to help them feel intense emotions. In fact, almost
thrilling, the uplifting, the awe-inspiring, and the magical. twice as many people say they are likely to buy from brands that bring
them a sense of joy (49%), or those that surprise and delight them
Whether numbed by pandemic isolation, burned out by grind culture, (45%), than from brands that just do what they say they will (26%).
or shocked by the 21st-century horrors of politics, war, and climate Yet few brands are tapping into this desire: 70% of people say they
crisis, people are feeling a sense of absence that is hard to neatly can’t remember the last time a brand did anything that excited them.
define. More than three-quarters of people now say they “just want
to feel something, to feel alive” and 74% say they feel like they are The trends that follow explore the yearning for re-enchantment.
waiting for something good to happen. Our hypothesis maps them to three overlapping needs: first, a quest
for reawakening and sense-making in a chaotic and confusing
Uncertain times might imply a shift to a more practical attitude, world; second, a desire to transcend the everyday and feel part of
but instead people are yearning for emotion-inducing experiences something bigger than ourselves; and finally, an optimistic impulse
that deliver feelings of joy and wonder, craving the spectacular, to actively usher in a kinder, more hopeful future. At their heart,
the surreal, and the otherworldly. Even darker thrills are inspiring these trends are about betterment—both personal and collective.
to some: the fear-inducing, the uncanny, the dystopian.
Via 18 original trends backed by proprietary survey data, and interviews
We saw the first shoots of this movement in this year’s “Future 100”: with 20 thought leaders in the space, this report sets out a path
in the appetite for adventure and thrills in Remote Dining, in the for brands to reflect the new mindset—and re-enchant the world!
craving for amazement in Multiversal Design, and in the burgeoning
joyconomy expressed in Ageless Play. Marie Stafford
Global Director, Wunderman Thompson Intelligence
The age of re-enchantment Contents 3
Introduction4
By the numbers 16
Trends25
Awakening 26
t
Dark comforts 28
n
Mortal branding 33
C
Full-spectrum feels 36
e
Generative awe 40
on t
Absurdist retail 46
Selling serendipity 50
s
Transcending 54
Transcendent wellness 56
Natural upskilling 60
Intrepid dining 64
Monumental wonders 67
Multiversal luxe 72
Sensory techtopias 75
Reimagining 80
New spiritual rebels 82
Fear for good 87
Next-gen luddites 91
Design untamed 95
Radical reconnection 99
Unleashing the joyconomy 104
Brand takeaways 110
Methodology115
Acknowledgements116
About us 118

The age of re-enchantment Introduction 4
I
ntr
oduction
The age of re-enchantment Introduction Re-enchantment defined 5
Re-enchantment defined
We define re-enchantment as fulfilling a craving for feelings of wonder In more ways than one, something has been lost. There is an absence,
and awe, an appetite for joy and fun, and an openness to thrills a vacuum to be filled. That is why we call it re-enchantment.
and adventure. It also includes more than a hint of mystery and
the willingness to experience a few goosebumps. We yearn to feel As our trends will show, the emotions of re-enchantment are powerful;
something, whether it’s delight, awe, surprise or exhilaration. they can help us make sense of a complex world, they make us feel
part of something meaningful that is bigger than ourselves; and they
In part, the need for re-enchantment is linked to the dull fate of can instill optimism, opening our eyes to future possibilities.
becoming adults: we lose our sense of childlike wonder over time and
the world becomes less magical. But it’s also a much-needed counter While the trends that follow resonate widely across markets and
to the times we live in. As we will outline, we live in a rational, explained cohorts, we dived deeper into the views of generation Z where relevant
world, and one in which we are harried and anxious, with little time to to gain some pointers on how the trends might evolve. But over
pause and pursue these sensations. This has been compounded by the the next few pages, our Drivers set out why this is happening now.
pandemic experience: “the least fun years any of us will collectively
experience,” according to psychologist Mike Rucker.
The age of re-enchantment Introduction Re-enchantment defined 6
sp rit
i
“If there were a
of this age,
it would look a lot like fear.
For years now we’ve been
running like rabbits.”
/ Katherine May,
Enchantment: Reawakening Wonder
in an Exhausted Age, 2023
Forces of Nature by Bompas & Parr, part of the AlUla Moments festival season in Saudi Arabia
The age of re-enchantment IntroductionDrivers 7
Drivers
The desire for experiences that can uplift, inspire, and enthrall
is eternal, but it is becoming more intense in an age that is,
and has been, plagued by unease. Crucially, the desire for brands
to deliver more emotional intensity across touchpoints feels
heightened. In our interviews with global thought leaders, we
asked why the demand for re-enchantment is on the rise, which
helped us to identify the following primary drivers of our trends.
Generation dread
In the past few months, economic journalists have revived the term polycrisis, which
describes the interplay of multiple shocks whose impact manages to exceed the
sum of their parts. Collectively, we are navigating some of the toughest challenges
in living memory, beset by economic turbulence, rampant inequality, conflict, and
polarization, not to mention the pandemic, all set to the backing track of a mounting
climate emergency. Together, these factors contribute to a pervasive sense of
unease and uncertainty. Just 25% of people say they are positive about the way
things are going in the world, and 71% are anxious about the state of the planet.
(For the top issues facing the world by country, please see the chart on the
following page.)
The Last of Us, HBO

Generation Dread: Interconnected anxieties

Biggest problems facing the world today
(top five ranking by country)
RANK ALL COUNTRIES UNITED STATES UNITED KINGDOM CHINA
1 KEY
Inflation
2 Climate change

Poverty and hunger
3 Access to affordable healthcare
Mental health
4 Crime
Wars
5 Infectious diseases and epidemics

Inequality
The hyperrational world

Our world is dominated by pragmatic, functional leadership, our lives are quantified
in data, and our choices are marshalled by algorithms. Little mystery remains when
we can summon up the answers to almost anything in seconds. Even entertainment
seems formulaic, mining past successes to endlessly churn prequels, sequels,
and remakes. Brands can do more to deliver inspiration: according to Wunderman
Thompson’s data, 61% of people say that “companies and brands aren’t doing
anything original these days.” Hyperrationality is leaving us jaded, says psychologist
Kirk Schneider, author of Life-Enhancing Anxiety: Key to a Sane World. He explains
that the “efficiency-oriented life” is driving a “yearning for something deeper in
our lives, a greater sense of purpose and meaning.”
“We tend to live in the trappings
boring,
of the mundane, the
and the ordinary.”

/ Jason Silva, artist, filmmaker,
storyteller, TV personality, and futurist
3.24 by 404.zero, part of the 2023 Thin Air exhibition at The Beams in London, UK
Attention for sale

From the 24-hour news cycle to the reductive chatter of social media, from caring
responsibilities to the productivity demands of grind culture, day after day, people
face unprecedented clamor for their attention. Psychologist Mike Rucker, author
of The Fun Habit, explains to Wunderman Thompson Intelligence: “We have had to
develop really advanced heuristics and algorithmic ways to get through life, because,
if not, we would be crushed under the deluge of information coming to us.” Despite
this, we compound the problem ourselves because we fear boredom, says Kenneth
Carter, Charles Howard Candler professor of psychology, Oxford College of Emory
University. We fill our time with entertainment that turns into “a constant drone
of content.” The upshot is that we feel depleted: almost half of people (46%) say
they “feel tired and burned out all the time,” and 67% agree that technology is making
us “feel more detached from the real world.”
The joy deficit

Mental health is now a global crisis and more than 1 billion people have a form of
mental disorder, according to the World Health Organization. This was exacerbated by
the COVID-19 pandemic, which will be remembered as a generation-defining event,
exposing millions to the impacts of illness, grief, isolation, and sensory deprivation.
Dacher Keltner, psychology professor at University of California, Berkeley, and

one of the world’s foremost experts in awe, believes that in many parts of the world
we are suffering from awe deprivation. He tells Wunderman Thompson Intelligence
that younger generations in particular “are more stressed, anxious, and self-
conscious than at any time in history.”
The Uncomfortable Entrance by Katerina Kamprani, part of The Uncomfortable collection

Now more than half of generation Z and parents with children under 18 tell us they
“are too stressed with daily life to think about seeking experiences that are all about fun.”
Many are missing out on the wellbeing benefits of emotions such as joy and awe
(see Elements of Re-enchantment section for more).
Fraying social fabric

Is friendship in decline? Data from the Survey Center on American Life released
in 2021 shows a sharp decline in friendships over the past three decades: 49% of
Americans reported having three or fewer close friends, compared to 27% in 1990.
The number who had no close friends at all quadrupled over the same period.
This is a pattern that repeats in other countries. A 2023 study by Ipsos across
32 markets reported that, on average, 21% of respondents had no friend or relative
on whom they could rely in time of need.
In more individualist societies, people report a loss of community spirit. In the United
States and the United Kingdom, more than six out of 10 people agree that “there’s no
sense of community anymore” compared with four out of 10 in China. In a sign of the
times, disruptive scenes in theaters in London and New York exemplify a new era
of toxic individuality in which etiquette and social niceties are thrown out the window.
This all matters because collective experiences are important sources of emotions
such as joy and awe. “The fundamental social challenge of the era is how to rebuild
community that has been lost,” says Keltner. Faced with multiple societal challenges
that require collaboration on a systemic level, recognizing and nurturing our
interdependence is becoming ever more crucial.
Engagement Mugs by Katerina Kamprani, part of The Uncomfortable collection

The age of re-enchantment Introduction Elements of re-enchantment 12
Elements of re-enchantment
Re-enchantment can take many forms and channel different
emotions or sensations. Here we explore some of the key
emotions brands can harness, and what they can do for us.
Awe and wonder

In his seminal book Awe: The Transformative Power of Everyday Wonder, psychology
professor Dacher Keltner explains: “When we experience awe, regions of the brain
that are associated with the excesses of the ego, including self-criticism, anxiety,
and even depression, quiet down. Awe shifts us from a competitive, dog-eat-
dog mindset to perceive that we are part of networks of more interdependent,
collaborating individuals.” 
Experiencing awe elevates our thinking beyond making meaning out of the
everyday, and changes our perspective to a more prosocial outlook that can offer
transcendence. Keltner describes the “eight wonders of life” that can induce awe,
from witnessing moral beauty and mortality, and enjoying nature, music, and visual
art to experiencing collective effervescence, spirituality, or an epiphany. It’s worth
noting that the word awe derives from the same word as fear, so experiences can
89%
sometimes be negative as well as positive.
say awe-inspiring
experiences make
them feel good
Northern Lights, Visit Sweden. Photography by Hjalmar Andersson
Joy and fun

Joy and fun may be regarded as frivolous and childish, but there is a growing
consensus among scientists and psychologists that embracing joy has powerful
mental health benefits. Psychologist Mike Rucker, author of The Fun Habit, defines
joy simply as “doing the things you like.” He argues that living a joyful life, or “putting
the fun habit into play,” forces us to act more mindfully and deliberately, which gives
us more agency and control over our lives. This can create an upward spiral that
improves our mental hygiene, as well as cultivating a more optimistic growth mindset.
83% actively seek out

experiences that bring
them joy and happiness
Fear, dystopia, and the uncanny

While fear may generally be considered a negative emotion, it can play a key role in
creating experiences that are fun, thrilling, and even life affirming. Experiencing fear
can quicken our heart and breathing rate, and cause us to sweat. It can also produce
the feel-good chemical dopamine in our brains, in addition to stress-inducing
cortisol. According to Coltan Scrivner, a behavioral scientist at the Recreational
Fear Lab in Aarhus University in Denmark, the key when designing fear-inducing
experiences is hitting the sweet spot to create something that is more fun and
dopamine-inducing than scary.
A Daybreaker communal morning dance event

Experiencing fear can also give us a sense of control and agency in a chaotic world.
For example, those who experience anxiety and depression, and feel overwhelmed
and helpless, can feel empowered by experiencing fear in a context that is finite
and controllable.
50%
are fascinated by content
that explores dystopian
themes or futures
Thrill and adventure

A thirst for newness and authentic experiences is driving consumers to seek out
thrills and adventure. The power of thrill-seeking is driven by a perception of risk
provided by an element of danger or unfamiliarity. The payoff is the uplift provided
by the release of chemicals such as dopamine, adrenaline, and endorphins, and the
hormone testosterone. Thrills and adventure provide a momentary feeling of elation
and an intense emotional response that can shake people out of the malaise of grind
culture. Jody Culham, Canada research chair in immersive neuroscience at Western
University in Ontario, believes that, while thrill-seeking is traditionally linked to
daredevils and adventure junkies in the physical world, it could be democratized
through technology. She tells Wunderman Thompson Intelligence: “I suspect the
definition of a thrill-seeker is going to grow, if you’re in virtual reality and you know
59%
that you’re really safe.”
seek out
experiences that will
challenge them
The Horror Show!
A Twisted Tale of Modern Britain 2022-2023 exhibition at Somerset House in London, UK.
Photography by Stephen Chung
Serendipity and surprise

Experiencing the unexpected and the surprising provides a profound uplift
while jolting us out of the monotony of the everyday. As psychologist Mike Rucker
explains in his book The Fun Habit, “Our nucleus accumbens—a region in the brain
associated with pleasure and reward expectation—responds most strongly to
unexpected events.” As efficiency-focused modern living can be both predictable
and relentless, serendipity and surprise offer a route to anticipation and excitement
for increasingly jaded consumers.
50%
want to feel more
surprise in their life
Magic and mystery

Magic, mystery, and the surreal have fascinated people for millennia, but
in a hyperrational, increasingly automated world they provide a route to
enchantment that stokes our imaginations and allows us to perceive the
extraordinary. These mythical elements also connect us to the immense
possibilities of existence outside of ourselves.
76% agree that when something

is magical it allows them to
escape from the mundane
Cigarette Tits (Idealized Smokers Chest II), 1999, by Sarah Lucas, part of the 2022 Objects of Desire: Surrealism and
Design 1924—Today exhibition at The Design Museum in London, UK. Photography by Andy Stagg
The age of re-enchantment By the numbers 16
n
umbers
By the
Original consumer data collected using SONAR™, Wunderman

Thompson's research consultancy, from 3,009 adults aged 18+
in the United Kingdom, United States and China.
In a chaotic world, the global outlook is uncertain
Biggest problems facing the world today Future outlook

Which of the following issues do you feel are Will things get better, worse, or stay the same over the next 12-18 months?
most important for society to address? (% agree) Get worse
Stay the same
Get better
The world My life 6%
TOP 10 RANKED
20%
25%
1. Inflation
2. Climate change
3. Poverty and hunger 43%
4. Access to affordable healthcare
5. Mental health
6. Wars
7. Inequality
8. Infectious diseases and epidemics
9. Crime
10. Chronic health conditions
55% 51%
People are feeling depleted, detached, and uneasy
People seem to have less time I just want to feel something,

for one another these days to feel alive
I am anxious about the state I feel there is something

of the planet missing from my life
Technology makes us more I feel like life is less exciting

detached from the real world than it used to be
I feel tired and

burned out all the time
There is a widespread yearning for re-enchantment
People want more emotion in their lives (% agree)
I actively seek out experiences that bring me joy and happiness Joy 72%
83% Hope 71%
Inspiration 62%
Awe-inspiring experiences make me feel more connected to the world
Excitement 60%
78%
Exhilaration 56%
When something is magical, it allows me to escape from the mundane Surprise 50%
76% Awe 49%
Amazement 48%
I prefer to spend time in places that spark my imagination
Intrigue 43%
68%
Thrill 37%
People now expect brands to re-enchant them too
Brands should make more effort to wow me

with spectacular advertising or marketing
70%
I can’t remember the last
time a brand did something
that excited me
65%
I want companies and brands to provide

me with multisensory experiences
I want to live in a world where
brands think giving customers
63% goosebumps is important
GEN Z MILLENNIALS GEN X BABY BOOMERS+

I want brands to help me
to feel intense emotions
65% 64% 53% 36%
61%
Re-enchantment drives brand engagement

I’d be more likely to purchase a brand if it… (top 10 ranking by generation)
RANK ALL GEN Z MILLENNIALS GEN X BABY BOOMERS+

COUNTRIES (AGE 18-29) (AGE 30-44) (AGE 45-59) (AGE 60+)
4
KEY
5 Brings me a sense of joy

Surprises and delights me
Relieves my stress
6
Inspires me
Does what it says it will,

7 no more and no less
Is sustainable
8 Is inclusive
Makes me feel connected

to something bigger
9 Gives me a multisensory experience
Makes me feel an intense emotion
10 Transports me to another world
Re-enchantment personas
While our data shows that many people would welcome elements of re-enchantment in
their lives, this can manifest in different ways. We analyzed our audience across the
United States, United Kingdom, and China to identify four distinct groups with different KEY
preferences. These groups lean into dark and dystopian themes, joy and awe, thrills Dark Devotees

and novelty, and the surreal and dreamlike. Each group resonates most strongly with Joy Hunters
one aspect of re-enchantment but may also enjoy others too. To understand the unique Optimistic Explorers
characteristics and attitudes of each group look to the following pages and the graphic Digital Dreamers
at the end of each trend. See our methodology on page 115 for full details. Low-interest group
7% 8% 10% 11% 4%
26%
31%
22% 17% 10%
36% 17%
33%
15% 14%
21%
24%
41%
30% 24%
ALL UNITED UNITED CHINA
COUNTRIES STATES KINGDOM
Dark Devotees (26%) Joy Hunters (21%)

PROFILE: Single generation Z and millennial men, low to middle income PROFILE: Married older women with children over 18, middle to high income
DRIVER: Fear, and dystopian content and experiences DRIVER: Escaping the mundane
Dark Devotees are adrenaline-fueled horror enthusiasts who live for the thrill of Firm believers in the power of fun, Joy Hunters want experiences to bring them
the scare. They enjoy recreational activities like rollercoasters, off-road driving, moments of joy, awe, and even a little magic. They are keen travelers, and planning
and quad biking, and have an interest in extreme sports like skydiving. Seeking is important to them—they also love seeking out the new and novel. Brands should
out challenge, they look to brands to excite, surprise, and wow them, and they look to fascinate or inspire them, helping them to break out of the mundane and
relish a frisson of fear. find those awe-inspiring moments.
86% 95%
agree when something is
like to feel a few
magical, it allows them to
goosebumps every
escape from the mundane
now and then
79% 90%
actively seek out
enjoy entertainment
87%
experiences that bring
experiences that are
73%
them joy and happiness
frightening or eerie
agree awe-inspiring
agree an element experiences make them
of risk or fear makes feel more connected
them feel more alive to the world
Optimistic Explorers (24%) Digital Dreamers (22%)

PROFILE: Older couples with children, middle to high income PROFILE: Young gen Z and millennial couples, low income
DRIVER: Novelty and surprise DRIVER: Entertainment tapping into the surreal, dreams, and digital worlds
Intensity is key for Optimistic Explorers, who want to test the boundaries of their Digital Dreamers find beauty and wonder in the surreal, the fantastical, and even
comfort zones. They thrive on the excitement of new experiences, particularly those the shocking. They are constantly looking to be entertained, and technology
that offer a thrill or adrenaline rush. They revel in the mystery of the unknown and makes their lives more exciting and intense. They gravitate towards digital realms,
show an interest in topics like the paranormal. Always seeking out fresh ways to have valuing the unlimited possibilities available there.
fun, they want brands to bring them joy, excitement, exhilaration, and even intrigue.
82%
92%
think it’s important to
think the digital world is
amazing because its
find new and exciting ways unlimited possibilities can
to have fun every day endlessly surprise and
delight people
81% 73%
love anything that taps
tend to avoid things
into surrealism or
71%
that are predictable
73%
and formulaic dreamlike concepts
feel most alive when appreciate things

they’re stepping out that are designed
of their comfort zone to shock
The age of re-enchantment Trends 01 Awakening—02 Transcending—03 Reimagining 25
T
rend s
1
The age of re-enchantment 01—Awakening 26
W a
A Ke
0
ning Three-quarters of people say they “just want
to feel something, to feel alive.” Brands can help
people feel excited and inspired, shaking off
malaise and emptiness with a dose of curiosity,
magic, and wonder. Darker themes, and even
difficult emotions, can help people make sense
of real-life complexity.
The age of re-enchantment 01—Awakening 27
AI-generated Nike “Impossible Store” on Mars by Benjamin Benichou

The age of re-enchantment 01—Awakening Dark comforts 28
Dark comforts
Content exploring dark and dystopian themes is on the rise,
offering ways to process complex emotions and even prepare
for future challenges.
In an uncertain world, we’re seeking goosebumps. Despite, or perhaps because

of, the frightening effect of the polycrisis, consumers are turning to horror and
dystopian content to help them understand and cope with the horrors of the real
world. Our research suggests dark content also gives people a feeling of agency
during chaotic and confusing times.
Horror has never been more popular. In the United States, box office data from Nash
Information Services reveals that the genre is enjoying a golden spell, having peaked
at nearly 12.5% of market share in 2021, at the height of the pandemic, and tracking
at close to 10% as of April 2023. Even in China, which traditionally skirts this theme,
there is an emerging niche in folk-horror gaming epitomized by the popular Paper
Bride series.
In tandem, 2023 has ushered in a deluge of dystopian entertainment exploring dark

themes, from the post-apocalyptic visions of HBO’s The Last of Us and Apple TV’s
Silo to eco-thrillers depicting nature’s revenge on humanity, such as Prime TV’s
The Rig, or The Swarm from ZDF. More than half of our US and UK respondents, and
more than a third in China, say they are fascinated by content that explores dystopian
themes or futures.
The Horror Show!, A Twisted Tale of Modern Britain

at Somerset House, London 2022-2023. Harminder Judge
Self Portrait (after Kali & Gene), 2009, Digital c-type print
© Harminder Judge.
Content that mines supernatural themes is also on the rise. The Uncanny podcast,
which explores tales of the paranormal, has been commissioned by the BBC as a
full-fledged TV show after racking up more than 5 million listens worldwide. Danny
Robins, its creator and host, explained to the Guardian in 2022 that when real life
feels horrific, audiences “want to feel that hit of fear.” But why?
Horror offers a simple enjoyable adrenalin rush for some, but for others it seems to
operate as a safety valve. If we inhabit a world that feels unsafe or chaotic, horror can
supply a route to safely process anxiety and renew our sense of control. In our study,
55% agree that horror provides an opportunity to experience fear in a safe
environment (rising to 65% of gen Z).
Coltan Scrivner, a behavioral scientist at Denmark’s Recreational Fear Lab at Aarhus

University, has conducted pioneering research on horror and morbid curiosity. “Think
of recreational fear as an off ramp for anxiety,” he suggests. “Feeling anxious, you’re
in a vicious cycle and you can’t get off. Now you open a doorway for something to feel
anxious about, but it’s finite and controllable. If I get too scared, I can watch it with
the lights on; I can turn the sound down; I can manipulate the source of the anxiety.
It gives you a sense of control. You’re scared for 90 minutes, and then it’s over.”
This notion of fictional horror as a salve could explain the genre’s popularity among
underrepresented groups and underline rising demands for inclusion. Black horror,
epitomized by Jordan Peele’s films Get Out, Us, and Nope, grapples with the real-life
experience of racism and inequality. Likewise, for LGBTQ+ viewers, treated as “other”
by heteronormative society, horror can be a means to process their experience. Even
the common trope of “final girls,” who survive to the last frame of a movie to tell
the tale, offers a form of cinematic female empowerment from the only genre to give
women more screen time than men.
The Last of Us, HBO

Horror and scares can also offer simulations of potential dangers, helping us to learn
and prepare for the challenges ahead. This accounts for a pandemic spike in streams
of the film Contagion, according to Scrivner. He explains that “what people were
doing is searching for this fictional example of what a pandemic looks like, at the
same exact time that they were searching for real information about the pandemic.”
Further underlining the trend, prepping, or survivalism, is on the rise worldwide,
according to a CBS 60 Minutes news story. Oprah even listed a survival prep kit
among her holiday gift recommendations for 2022: the Judy Emergency Pack bundle
comprises 53 pieces of equipment, including a hand-cranked radio and those
all-important biohazard bags.
Our experts told us that scares can also offer a kind of transcendence, by showing
us we are part of something beyond the everyday. The uncanny and the supernatural
offer mystery and a sense that there might be more to life.
Is there a way for brands to tap into this dark fascination? Yes, say our experts, but
with caveats. Scrivner suggests brands keep inclusivity in mind and position fear as
a challenge that anyone can tackle, rather than something too skills oriented. A good
example might be a 2022 activation from S.Ride, a Tokyo cab service, which dared
passengers to ride along with Sadako, the ghost girl from The Ring. The “Spellbound
by Sweden” campaign from Visit Sweden is a chilling audio story based on Swedish
mythical creatures that is geo-restricted, designed to be enjoyed when exploring
the country’s forests. Scrivner cautions that fear requires a fine balance, though:
too much and the audience is terrified, too little and they are bored.
S.Ride’s Sadako Taxis featured the main antagonist from The Ring
Nell Lloyd-Malcolm, CEO and founder of xydrobe, a new experiential platform for
luxury commerce, tells us how the brand is using fear as an accent. “We are working
on something that I would definitely describe as scary right now, but it’s always
paired with something that has a driving force behind it,” she says. “So we may
start somewhere scary and end up somewhere inspiring.”
For more on xydrobe, see Sensory Techtopias on page 75, and to read more about
brands using fear as a communication tactic, see the Fear for Good trend on page 87.
WHY IT’S INTERESTING

People are using horror as a coping mechanism, as a way to find agency in an
uncertain world, and just for fun. A frisson of fear could offer a distinct and novel
route to engagement for brands: more than half of people say they enjoy feeling
a few goosebumps every now and then (57%), especially millennials (67%). The key
is to deliver thrills that preserve and respect audience wellbeing, explain Torquil
McIntosh and Simon Mitchell, cofounders of the global design studio Sybarite:
“Exploring a darker side to curiosity can bring greater engagement, there is no question
of that. However, there should be an accountability and responsibility to this.”
“I like to feel a few

goosebumps every
now and then”
86%
54% 52%
Dark 46%
Devotees
Joy Optimistic
Hunters Explorers Digital
Dreamers
Silo, Apple TV+
The generation Z take

“Dark and grotesque themes target something that we all have inside
of us that we don’t always speak about.”
Indian female, 21
“For brands that tap into feelings like horror, that gives me a bad taste
in my mouth. There’s a really thin line between fearmongering and trying
to be funny, or something.”
American female, 24
“Emotions like awe, horror, fear, and the grotesque can be a powerful way
for brands to create an authentic, memorable, and impactful experience.
By evoking strong emotions brands can deepen their connection with
consumers and create a lasting impression. However, brands should also
be mindful of the potential risks: it can be seen as insensitive or offensive.
Be mindful of cultural sensitivities and avoid using shocking or disturbing
imagery for the sake of shock value alone.” The Last of Us, HBO
Japanese male, 20
“Be mindful that such territories aren’t true to life and therefore brands
should be careful about how far they push their audience. However,
they should have fun as people often like horror, for example, for the
f cus
o
thrill that it brings.”
Indian female, 22
“Brands should
on using aspects like awe

and horror to reinvigorate
the numbed sensations of
the people.”
/ Nigerian male, 21
The age of re-enchantment 01—Awakening Mortal branding 33
Mortal branding
World events have trained a lens on our own mortality, opening
up cultural conversations about death.
While there is great variation in the way cultures around the world approach death,
the events of the past few years have brought our relationship with it into focus.
According to Wunderman Thompson data, 64% of people agree that we are more
in touch with our own mortality now than before the pandemic. We are also seeing
a rise in dark tourism, in which travelers seek out destinations associated with death
or disaster, as explored in our Dark Zones trend in “The Future 100: 2023.”
This is giving brands, particularly those in Western countries that have typically shied
away from conversations in this space, more latitude to reference them. Crucially,
campaigns that illustrate or hint at our eventual demise don’t have to be morbid. They
can pave the way to deeper meaning, inject joie de vivre and establish connection
to something far greater than ourselves.
Embracing our own mortality can be life-enhancing, says psychologist Kirk Schneider.
He tells Wunderman Thompson Intelligence that it’s about “appreciating this
amazing moment that we have between two voids, one birth and one death, that
we can tap into and feel a part of.”
Brands are tentatively exploring opportunities to imbue storytelling with this larger-than-
life meaning. Take the 2023 campaign “The Greatest Story Ever Worn: Legends Never
Die” from denim apparel brand Levi’s, which dramatizes the true story of a man who so
adored his 501s that he requested his loved ones all wear Levi’s jeans to his funeral.
“The Greatest Story Ever Worn: Legends Never Die” campaign by Levi’s
Awareness of our own mortality can be motivating: our data finds almost universal
agreement (93%) that “life is short, so we need to make the most of it.” Premium
travel rentals company Plum Guide tapped into the urge to seize the day with its
“No Time for Average Stays” campaign. It bluntly reminded people of how few
holidays may remain in their lifetime, and even sent a troupe of people dressed as the
grim reaper onto the streets of London to reinforce the message. Chief brand officer
Ali Lowry told Skift, “This notion of mortality really resonated because it’s punchy.
It’s not what people might necessarily expect from a booking platform.”
Using mortality as a shock tactic like this undoubtedly cuts through. New Zealand-
based life insurance company Partners Life, for example, collaborated with the
country’s leading crime drama The Brokenwood Mysteries to add a chilling twist to
its call to action. At the end of every episode of the TV show, the murdered character
was revived in the morgue to deliver their “final performance” about the value of life
insurance. In South America, heart charity Fundación Cardiológica Argentina used
the FIFA World Cup Qatar 2022 as an opportunity to raise awareness of the link
between heart attacks and stress, such as that caused by watching the soccer.
Its “Cancel the World Cup” campaign analyzed tweets from soccer fans and sent
messages to the most stressed out and infuriated, inviting them to visit a cardiologist.
Businesses are also testing the mortality waters with innovations that stray into this
territory. Amazon is developing a feature that will enable its voice assistant to simulate
voices of lost loved ones; at the 2022 Re:Mars conference, Rohit Prasad, senior vice
president and head scientist for Alexa, shared a demonstration depicting a deceased
grandmother reading to her grandson through Alexa. Elsewhere, metaverse virtual world
Somnium Space has been developing its Live Forever Mode feature, which enables users
to create an AI-powered digital avatar of themselves that looks and moves like them.
This, the brand claims, will live on in the digital space long after the user has died.
“Last Performance” campaign by Partners Life

The notion of a brand engaging with themes as intimate as death will be anathema
to some, and in certain markets taboos remain. In China, in line with cultural mores,
few advertisers stray into this territory, or else take a light-hearted tone. In Baidu’s
2022 short film to promote its artificial intelligence devices, an old man who has
passed away honors a lifelong promise to always take his wife to the National Day
celebrations by requesting a day off from heaven.

Cultures differ on their perspectives on death; however, the tides are gently
shifting in the West. Memorable and tasteful activations that tap into a heightened
awareness of our own mortality can help people connect with something greater
than themselves.
“We are more in touch with

our own mortality now than
before the pandemic”
69% 72%
59% 58%
Dark Joy
Hunters Optimistic Digital
Devotees
Explorers Dreamers
“The Greatest Story Ever Worn: Legends Never Die” campaign by Levi’s
The age of re-enchantment 01—Awakening Full-spectrum feels 36
Full-spectrum feels
Brands are embracing the full spectrum of human emotion,
acknowledging that difficult feelings are an important part
of life.
Consumers are increasingly fluent in their own emotions, making use of mood-
tracking devices and mood-journaling, and even buying mood-enhancing food,
drinks, or perfumes. In tandem, an industry is growing up around mood optimization,
largely focused on happiness.
But research increasingly shows the importance of embracing the full range of
our emotions, not just the positive ones. Only by acknowledging and working with
emotions like fear, anxiety, and pain, can we better understand them, gain greater
control over them, and build more resilience.
In his recent book Life-Enhancing Anxiety: Key to a Sane World, psychologist Kirk
Schneider promotes 19 steps towards cultivating awe, which include the need
to “foster an appreciation of pain as a sometime teacher.” He tells Wunderman
Thompson Intelligence: “My experience indicates to me that one usually has to
really grapple with the anxieties that come up. You have usually got to do the work
to tolerate the ambiguity, the distress that can come up, which can be converted
into something very powerful and meaningful, and I think much more enduring
than just a quick-fix approach to awe.”
The 2023 “Sweat and Tears” campaign by Buxton Water.

The brand is committed to supporting mental and physical wellbeing
in the UK through its partnership with mental health charity Mind.
Schneider also argues that by confronting difficult emotions we can “avoid the much
worse anxiety that has to do with the denial of facing those issues.” Psychologist
Mike Rucker adds that “when you are emotionally flexible, then you can shorten
the amount of time it takes to process trauma and you can get yourself back up.”
Brands are now amplifying this conversation, helping to normalize negative emotions
by foregrounding them in campaigns.
For its February 2023 Beauty issue, lifestyle media brand Highsnobiety commissioned
photographer Richie Talboy to shoot “For Crying Out Loud,” a portrait series of
people crying. The arresting series aimed to capture people at their most vulnerable,
and at the same time normalized the idea of embracing and working with emotions
that are traditionally regarded as being negative.
German fashion brand Hugo Boss’s debut NFT character collection with the Web3
company Imaginary Ones fully embraced emotional realism. Its NFTs depicted a wide
range of emotions including joy, love, anger, fear and sadness and launched with the
tagline: “All feelings—positive and negative—are valid, and allowing ourselves to feel
them is key to our wellbeing and good mental health.”
Other brands are exploring emotions as a choice filter. Mondelēz brand Philadelphia
opened a Feeladelphia pop-up restaurant where diners could order dishes based on
the emotions they wanted to feel, such as allure, curiosity, and spontaneity. Lifestyle
marketplace Planet Woo’s Shop by Mood feature allows shoppers to filter products
via non-traditional or quirky mood states, including “trippy” and “horny.”
“Counselling Couch” campaign by IKEA

Al-Futtaim Ikea in the UAE is going a step further, holding up a mirror to relationships
with its 2023 “Counselling Couch” campaign. In a nod to the strain put on couples
by a trip to the furniture store, the retailer added a QR code to selected items that
invited customers to book an in-store couples’ therapy session to talk it out.
Wunderman Thompson Intelligence’s survey suggests that consumers are open

to the idea of brands helping them explore their emotions, with 61% saying they
want brands to make them feel intense emotions. More than half (59%) say they
seek experiences that mentally or physically push them out of their comfort zone,
while nearly a fifth (18%) of consumers in the United States and the United Kingdom
“When you are emotionally
said they’d be more likely to buy from a brand that challenged them.
flexible, then you can shorten
the amount of time it takes
trauma
There is an opportunity for brands to take the lead on emotional literacy, to process
empowering people to embrace the full spectrum of their feelings, and to give
them encouragement and safe spaces to tackle these tricky but ultimately
enriching conversations.
and you can
get yourself back up.”
“I want brands to

help me to feel
intense emotions”
/M
ike Rucker,
Psychologist and
74% author of The Fun Habit
64% 63%
54%
Dark Joy Optimistic Digital

Devotees Hunters Explorers Dreamers

“If someone is just thinking about the positive and ignores the negative side,
they don’t actually get to feel their emotions, or get to know why they’re sad.
So it’s definitely good to explore negative emotions.”
British male, 24
“I consider myself a pretty happy person—but someone who’s happy all the time,
that’s not real. Real people have different emotions and it’s good to have them
because, if you don’t, you’re not going to value the happiness, the good emotions.”
American female, 27
“I definitely explore the negative emotions, but in a positive way. I’m gen Z,
I’m a therapy girl. You have to be able to understand why you’re sad, why you’re
anxious, or why you’re upset about something so that you can get over it and
be happy.”
American female, 23
#cryingmakeup trend on TikTok
“It would be a privilege to

choose how I actually feel—but
we can’t. I feel like every hour
that goes by I probably focus
emotion,
on a different
regardless of whether
it’s positive or negative.”
/ British female, 19
The age of re-enchantment 01—Awakening Generative awe 40
Generative awe
Brands are racing to harness the vast and awe-inspiring potential
of generative AI.
Artificial intelligence (AI) is revolutionizing our world at an exponential pace with

generative AI, the buzz term on everyone’s lips. This subfield of AI generates novel
content such as images, music, text, and even code that is almost indistinguishable
from that created by humans. Already 51% of people globally have tried or are
interested in trying generative AI tools, according to Wunderman Thompson data,
highlighting the blistering pace at which this technology has evolved to capture
public imagination.
The state-of-the-art AI chatbot ChatGPT has garnered a wave of publicity since

its launch by OpenAI in November 2022. Early adopters describe it as a productivity
marvel that almost defies comprehension in its ability to handle dialogue.
But there is more to generative AI than just efficiency, and it’s already infiltrating
the creative world, causing brands to take notice. Image generators Midjourney and
Stable Diffusion enable users to produce high-quality visuals quickly and easily using
text prompts, even without prior training. So lifelike are some of the AI-generated
images that people have been duped into thinking they are genuine, such as the
hyper-realistic image of Pope Francis wearing a white, ankle-length puffer coat that
went viral in March 2023.

For brands the race is now on to leverage the power of generative AI. In March 2023,
Coca-Cola launched the Create Real Magic contest, which invited fans to use
generative AI tools to create their own branded artworks. A series of videos for the
Jordan Tourism Board, released in February the same year, show the country's
landmarks reimagined by AI. Google now has plans to introduce technology that
can generate new advertisements based on existing content within months,
according to a Financial Times article in April. While some worry that generative AI
could jeopardize human creativity, others are embracing its potential.
Benjamin Benichou, CEO and cofounder of tech company Drop, tells Wunderman
Thompson Intelligence that “by collaborating with AI, we can reach new heights
of creativity and push the boundaries of what’s possible.” He has caused a stir on
social media with his innovative generative AI concepts, depicting everything from
hypothetical brand mashups to his series of Impossible Stores, which included Nike
stores on top of Mount Everest or on Mars. Benichou believes that AI’s capacity to
generate truly novel ideas is what’s driving the awe.
AI-generated Nike “Concept Store” in Kyoto by Benjamin Benichou

AI-generated content allows artists to build relationships with technology. Colombian

creative director Daniel Shambo says, “Once I start with an idea, then it becomes a
conversation with the artwork.” The collaborative element is key: for him, it’s about
the people using the tools. He states that “the technology is just the thing that’s
in the middle—it’s like the ball in a soccer game—but what’s important is the people
around it and how they’re playing with that ball.”
Nima Abbasi, partner at creative studio Maison Meta, believes generative AI could be
a democratizing force, driving inclusion for people from diverse backgrounds. He tells
Wunderman Thompson Intelligence that AI is “flattening and broadening the playing
field.” As a founding partner of the inaugural AI Fashion Week in April 2023, Maison
Meta is hoping to uncover the next big talent in fashion. The platform has attracted
designers from all over the world, says Abbasi: “For AI Fashion Week we have people
from Nigeria, from Uruguay—we have people from all over the world. You just wouldn’t
expect normally for those people to be participating in such a piece.”
Generative AI is also being used to revive access to lost memories and cultures.
As part of BIDA Fair—Bolivia International Digital Art, Bolivian-Australian filmmaker,
technologist, and artist Violeta Ayala created AI portraits of her grandmothers
that bring to life elements of Quechua culture, history, and resistance not captured
in photographs.
Moncler “Genius AI” campaign by Maison Meta

Unsurprisingly, the conversation surrounding AI is complex. Lawmakers struggle

to keep pace with its development, resulting in intellectual property and copyright
issues. This makes it a challenging environment for brands to navigate. In March
2023, Italy became the first Western country to block ChatGPT, over a lack of
transparency in its use of data. Some AI experts and tech leaders (including Elon
Musk) are calling for a pause in AI development to allow time for safety protocols
to be put in place. “Pandora’s box has been opened and it’s just the beginning.
We definitely have to put some ethics behind it, and the government has to put
in place some laws to control generative AI’s outputs and results,” Cyril Foiret,
founder and creative director of Maison Meta, tells Wunderman Thompson.

Generative AI provokes wonder and alarm in equal measure. As the technology
continues to advance at an unprecedented rate, we can expect a host of exciting
applications, but some experts worry these could surpass human understanding.
While brands must move with caution, those that embrace the potential
of generative AI are poised to be at the forefront of awe-inducing creativity
and innovation in the years to come.
“I am interested in trying

generative AI tools”
59% 60%
53%
43%
Optimistic Digital
Dark
Joy Explorers Dreamers
Devotees
Hunters


Benjamin Benichou
(he/him), United States
Benjamin Benichou is the CEO and cofounder of California-based tech company My Impossible Stores series serves as a prime
Drop. He uses generative AI to create hypothetical brand mashups and concept example of how generative AI can help unlock
stores that defy imagination. We asked him why he’s excited about generative AI new levels of creativity. As someone who isn’t
and the possibilities it unleashes. an architect or a 3D designer, I was able to
leverage AI to overcome these limitations and
One of the most exciting aspects of generative AI is its ability to create novel ideas venture into a whole new creative realm.
and combinations that we might never have thought of on our own. It exposes us to new While some of the concepts might seem
perspectives and encourages us to break free from our usual thought patterns. impractical at first (or truly impossible), they
By collaborating with AI and leveraging its strengths, we can expand our creative serve as a starting point for further exploration
horizons and push the boundaries of what’s possible. and refinement. These unconventional ideas
can inspire real-world retail design by pushing AI-generated Nike “Concept Store”
in Kyoto by Benjamin Benichou
architects and designers to think beyond
the norm. AI does have limitations, but I believe
Happy accidents happen all the time when it’s not the technology itself that limits our
working with generative AI, and they should creativity, but rather how we choose to use it.
be embraced. It’s possible that, as AI continues to evolve,
If you have a very specific idea in mind and it may generate ideas that surpass our current
try to force the AI to create exactly what you’re understanding and imagination.
envisioning, you may end up frustrated. Instead, While it’s difficult to predict the exact
I use AI as a sparring partner, starting from impact this would have on creativity, one
an idea and iterating around it. thing is certain: the fusion of human and
artificial intelligence has the potential to drive
innovation and redefine the way we approach
the creative process.
The age of re-enchantment 01—Awakening Absurdist retail 46
Absurdist retail
Brands and retailers are using the surreal, the dreamlike,
and the wondrous to inspire, helping consumers find beauty
in a chaotic world.
The revival of the 20th-century surrealist movement is “an aesthetic reflection

of the insanity of our reality,” as British journalist Jess Cartner-Morley put it in
a February 2023 piece for Elle. The parallels are being drawn not just by artists
and philosophers but also by brands, which are repurposing surrealism’s ability
to find beauty within the absurd and unconventional.
Two-thirds of millennials and gen Zers express a liking for anything that taps into
surrealism or dreamlike concepts, and we’re now seeing the aesthetic spread, even
touching mainstream brands and retailers that are using the kooky and surreal to
re-enchant consumers.
One expression of this trend sees the cartoonish brought to life. Brands MSCHF
and Red Wing Shoes both launched comically oversized boots in early 2023. MSCHF’s
Big Red Boots, which resemble something Japanese anime character Astro Boy
might wear, sold out in minutes and were omnipresent at New York Fashion Week.
US-based high-quality workman’s boots manufacturer Red Wing Shoes sought
to underline the quality of its craftsmanship by lovingly recreating a pair of Mario’s
boots to tease the new Super Mario Bros Movie.
SKP-S Chengdu retail park in China by Sybarite. Photography by Nick Kuratnik

While high fashion has long been associated with outlandish concepts designed to
shock and invoke awe, now appliance manufacturer KitchenAid is getting in on the
action. To launch Hibiscus, its 2023 color of the year, the brand worked with designer
Marta Del Rio to create a surreal fashion show at NYFW AW23 inspired by its most
iconic products, the Artisan Stand Mixer and the K400 Blender. Models wore hot-
fuchsia dresses featuring over-the-top, bubbly, cartoony shapes, accessorized
with metal kitchenware details.
With consumer spending facing a continued squeeze, retailers are also looking to the
surreal to woo consumers back into stores. In January 2023, Louis Vuitton launched
its new Yayoi Kusama collection, a second collaboration with the avant-garde
Japanese artist. Stores around the world were suddenly covered in her signature
dots, with some including larger-than-life animatronic robots modeled after the
artist. The flagship store in Paris even featured a giant sculpture of Kusama peering
into the windows from the rooftop.
Elsewhere, the Grand Numéro de Chanel exhibition ran from December 2022
to January 2023 in Paris. It took visitors on a multisensory, dreamlike journey with
magicians, dancers, and olfactory experiences. Featuring giant fragrance bottles
and oversize chess pieces, the ethereal installation evoked Alice’s journey through
the looking glass.
A dress from Marta Del Rio’s capsule collection for KitchenAid launching their 2023 color of the year.
Photography for Paper Magazine by Tom Kerr
Aiming to entice the 68% of people who prefer to spend time in places that spark
their imagination, not to mention the 52% of people who are willing to pay more for
elevated shopping experiences, London-based global design studio Sybarite created
the subterranean SKP Chengdu shopping center in China to bring people into
a parallel world. The studio’s cofounders, Torquil McIntosh and Simon Mitchell, tell
Wunderman Thompson Intelligence that “the parallel world is a recurring metaphor.
It suggests a universe that is similar to our own but with subtle differences that play
to intrigue and wonderment—familiar yet different in unexpected ways, if you like.”

According to McIntosh and Mitchell, “customers are looking for a sense of discovery
and escapism from the everyday, thus they relate to spaces that transport them
away and take them on an adventure.” In an age when fake news and global crises
abound, people are using surrealism to break free from the mundane and to help
them find fun and beauty in the absurd.
“I love anything that

taps into surrealism
or dreamlike
concepts”
73%
63%
42% Digital
Dark 36%
Dreamers
Devotees Joy Optimistic
Hunters Explorers
SKP-S Chengdu retail park

in China by Sybarite.
Photography by Nick Kuratnik
SKP-S Chengdu retail park in China by Sybarite. Photography by Nick Kuratnik

The age of re-enchantment 01—Awakening Selling serendipity 50
Selling serendipity
Jaded consumers want brands to delight them with the surprising
and the unexpected.
In a world increasingly focused on speed and efficiency, consumers have an appetite

for an injection of mystery, surprise, and serendipity into their lives. But our research
suggests that brands are not doing enough to deliver on this. Nearly half of people
surveyed (48%) say they tend to avoid things that are predictable and formulaic,
yet a massive 70% say they can’t remember the last time a brand did something
that excited them.
In his book The Fun Habit, psychologist Mike Rucker explains that “we are drawn to
the unexpected elements of surprise.” Wunderman Thompson Intelligence research
confirms this appetite. Half (50%) of those surveyed say they’d like more surprise in
their life, while 74% agree that they enjoy an element of mystery and surprise in the
things they do. This unlocks pockets of opportunity for brands to deliver an escape
from the everyday.
In summer 2022, Japanese train operator JR West launched “Dice Travel,”

a serendipity-based campaign to encourage people to explore new destinations.
Travelers rolled a virtual dice on the JR West app, which dictated the ticket they
received to one of six corresponding locations. All round-trip tickets cost the same
(¥5,000), encouraging customers to embrace the adventure of the unexpected
and the unplanned.
The intriguing entrance of Nike’s World of Flight store in Japan

gives no indication of the delights inside. Photography by RK
British online travel company Journee builds on this approach, booking vacations for
customers to surprise locations. Users fill in a 10-minute questionnaire to be matched
with a secret destination, only finding out where they’re going when they open an
envelope at the airport.
Ultra-fast Swedish food delivery service Kavall is also trialing a serendipitous offering
with its Kavall Unplan solution. Those feeling uninspired in the kitchen can order
an Unplan delivery in 10 minutes, which brings a random meal kit box containing a
surprise recipe and ingredients. A limited number of lucky people have even been
given a physical Kavall Unplan button, which they simply press whenever they want
a surprise meal delivered.
Unpacking the lure of the unexpected, Torquil McIntosh and Simon Mitchell,
cofounders of global design studio Sybarite, tell Wunderman Thompson Intelligence
that “creating a glimpse into the unknown and unexpected conjures up anticipation
and excitement.” This is an apt description of Coca-Cola’s limited-edition Creations
range, which uses mystery and intrigue to engage consumers, rather than traditional
product cues based on ingredients, provenance, and flavor. Instead, options such as
Starlight, Byte, and Dreamworld deliver the taste of outer space, pixels, and dreams,
creating FOMO around a product that simply must be experienced.
The Unplan (Oplanera) delivery option from Kavall

Coca-Cola Dreamworld. Courtesy of Coca-Cola, Virture and UNIT9

Surprise and delight can also be delivered via customer service that exceeds
expectations, like the impromptu free ukulele lessons for passengers on a Southwest
Airlines flight to Hawaii in 2022. It can come from unexpected rewards like Brewdog’s
“Checkout Chancer” ecommerce promotion that gave one in every 25 customers the
value of their order back in credit. And it can be delivered through product curation,
collaborations, and launches that put newness and discovery ahead of predictability.

Regardless of the delivery mechanic, mystery and surprise are becoming increasingly
important tools for brands looking to break through the noise and deliver meaningful
experiences. Wunderman Thompson data shows that 45% of consumers would be
more likely to buy from companies and brands that surprise and delight them, so
money is being left on the table by brands and companies focused solely on efficiency.
“I enjoy an element

of mystery and
surprise in the
things I do”
89%
78% 76%
65%
Optimistic
Dark Joy Explorers
Devotees Hunters Digital
Dreamers
Southwest Airlines partnered with Guitar Center to offer passengers in-flight ukelele lessons
The age of re-enchantment 02—Transcending 54
T02 r Se
an c n in dg
Experts say that when we feel part of something
that’s bigger than ourselves, it’s good for our
wellbeing. We quiet the chatter in our minds and
focus our attention outward instead—it’s prosocial.
From the wonders of nature to the dazzling power of AI,
there are many ways brands can tap into the power
of transcendence, delivering experiences that enthrall
the senses and spark imagination.
The age of re-enchantment 02—Transcending 55
“Maybe ‘the point’ isn’t to live

more, in the literal sense of a longer
al e
or more productive life, but rather,
iv
to be more
in any given moment.”
/ Jenny Odell, Saving Time:

Discovering a Life Beyond the Clock, 2023
Artistic rendering of the artwork by Olafur Eliasson with Robert Macfarlane

The age of re-enchantment 02—Transcending Transcendent wellness 56
Transcendent wellness
As a growing body of research points to their wellbeing benefits,
we are seeing a rise in experiences designed to simulate or
provoke self-transcendence—in other words, losing ourselves
and forgetting our worries.
Mental wellness is perhaps the defining issue of our time. We live in an age of
hypervigilance, where we monitor threats present and future, seen and unseen.
The demands of work and home are leaving many exhausted: almost half of people
(46%) say they feel tired and burned out all the time. Screens commandeer and
consume what’s left of our attention.
“People are feeling more estranged from themselves, both internally and between
each other, because of this often efficiency-oriented life we live. They’re yearning
for something deeper in their lives,” concludes psychologist Kirk Schneider, speaking
to Wunderman Thompson Intelligence.
Transcendence, often associated with deep meditation, spirituality, or psychedelic

drugs, delivers the serene and comforting realization that you are part of a bigger
whole. It can help people to leave behind the stresses of the everyday and quiet the
ceaseless chatter of the “monkey brain.” Astronauts often report this sensation when
observing the earth from space, in a phenomenon known as the overview effect.
Now a wave of scientists and creatives are using technology to deliver a similar effect
to a wider audience.
The Cyberdelics film series by Jason Silva

Jason Silva, a Venezuelan-American artist, filmmaker, storyteller, TV personality, and

futurist, is using real-time generative artificial intelligence to create “Cyberdelics”—
trippy visual narrative films that deliver a psychedelic-type experience to transport
the viewer. Silva sees these “philosophical espresso shots” as a positive tool for
mental wellness that can “get us out of rumination so that we can finally be in the
deep now. Anything that provides refuge from the over-rumination that characterizes
mental distress, I think is a good intervention.”
,
Virtual reality (VR) is also showing potential in this space. David Glowacki, an American
artist and molecular physicist, developed a collective VR experience that delivers “Steve Jobs famously
mind.
self-transcendence in a bid to replicate the sense of peace he felt during a near-death said, ‘The computer is
encounter. The therapeutic experience, dubbed Isness-D, has been shown in tests to the bicycle of the
have similar effects to a medium dose of LSD or psilocybin, according to a 2022 study
published in Nature Scientific Reports. In the experience, participants appear as clouds
of light, which seem to blur and mingle with one another, producing feelings of deep
connection. The technology has already been adopted as a therapeutic tool for cancer
patients and their families by the VR startup AnuMa. He might as well have
said, the computer is the
Also tapping into communal experience, Dreamachine is a device that can deliver
new LSD.”
transcendental multisensory experiences that “explore the potential of the mind.”
Created by Collective Act, a UK producer of large-scale commissions, in a
partnership that includes the architecture collective Assemble and the composer
Jon Hopkins, the experience claims to offer a way to disconnect from the everyday
and reconnect to the self. Images are projected onto people’s eyelids as they
relax with their eyes closed, inviting them to interpret the colors and shapes.
/J
ason Silva, filmmaker,
storyteller, TV personality,
and futurist
The exhibit reached more than 100,000 people in a UK tour in 2022. In an interview
with the Guardian, Hopkins explained, “There has been a decline in general mental
health and a yearning to live differently. In my opinion, looking inside ourselves
is where we find the answer.”

The rise of these technologies speaks to a yearning for powerful experiences that can
quiet the ego and enable a shared connection to something bigger than ourselves.
Almost two-thirds of people (61%) have this sense that something is missing from
their life. For brands, could there be an opportunity to facilitate therapeutic moments
of connection and transcendence like this?
“I feel tired and

burned out all
the time”
55%
49%
42% 39%
Dark
Joy Digital
Devotees Optimistic Dreamers
Hunters Explorers
Dreamachine offers a transcendental communal experience. Photography by David Levene


The age of re-enchantment 02—Transcending Natural upskilling 60
Natural upskilling
To support wellbeing, brands can educate people to go beyond
the quick nature dips of the pandemic and build a habit for life.
“We are very awe-depleted in our culture,” psychologist Kirk Schneider explains to
Wunderman Thompson Intelligence. “There’s so much emphasis on the quick fix
and instant result—the efficiency model for living—that we’ve lost touch in many
ways with a more raw contact with nature and ourselves, which can be very enriching
and very revitalizing.” Nature can have a powerful impact on our physical and
mental wellbeing. This is something we learned during the pandemic: 65% of
global respondents now say they are seeking out more opportunities than before
to immerse themselves in nature.
The so-called #sillylittlewalk (a TikTok hashtag with more than 1.5 million views as
of May 2023) was all well and good for a while, but now we’re seeking a deeper
engagement with nature. With a focus on educating their audiences, this offers
brands a tangible opportunity to illuminate the benefits of nature-based awe for life.
Hoping to upskill UK gen Zers on the multifaceted power of nature to improve their
mental and physical health, Woo is a new shopping and media wellness platform
created by the British commercial broadcaster ITV. Bold psychedelic graphics
and influencer content add authenticity to its message that good wellbeing is for
everyone. In May 2022, it launched Nature’s Calling, a series outlining the benefits
of the great outdoors and activities such as wild swimming. “Forget the overdone
walk in the park, this show is going to give you a whole host of new outdoor ideas.
After all, nature is for life, not just for lockdown,” it exhorts.
Helsinki Activities, Visit Finland. Photography by Julia Kivelä

As Schneider explains, mere exposure to nature is not enough; we must learn the
skill of appreciation to be open to its awe-inducing powers. In March 2023, Finland
was declared the “happiest country on earth” for the sixth consecutive year in the
Sustainable Development Solutions Network’s World Happiness Report. This is
something that Heli Jimenez, senior director of international marketing at Business
Finland, attributes to a “close relationship with nature and our down-to-earth
,
lifestyle: it’s not some mystical state, but a skill that can be learned and shared.”
happy?
Hoping to pass on its knowledge, the country is hosting a free four-day workshop
“A question we often get is:
in June 2023 at a luxury resort in the Finnish woods for 10 lucky applicants, who
‘How are you so
will learn how to cultivate happiness through a deeper bond with nature.
In China, which has only latterly emerged from the pandemic, the ecommerce and
social shopping platform Xiaohongshu (Little Red Book) is encouraging people to get
outdoors and get back to nature as an antidote to widespread boredom and anxiety.
As part of its Go Wild Festival (which has the slogan, “Come outside, don’t see We believe Finnish happiness
outside”) it hosted a series of nature-based activities, from hiking to cycling to frisbee.
stems from a close relationship
Nature isn’t universally accessible, so a number of urban attractions are using
with nature and our down-to-earth
technology to create fantastical experiences and help educate a wider audience on lifestyle: it’s not some mystical
the benefits of the natural world. Opened in March 2023, the BBC Earth Experience, state, but a skill that can be
narrated by Sir David Attenborough, offers a spectacular 360-degree immersive
learned and shared.”
audiovisual journey through the natural world across all seven continents, using vast
multi-angle screens and the latest in screen technology. Visitors can learn about the
world’s diverse range of species and witness everything from a four-ton elephant
seal fight to a forest of fireflies. From summer 2023, Toronto plays host to Arcadia
Earth, an environmental storytelling platform that uses virtual reality, augmented /H
eli Jimenez,
senior director of international marketing,
Business Finland
reality, and massive screen projections to “inform, inspire, and activate” communities
to positively impact the planet. The Museum of Earth, “a perception-shifting
experience and collaborative gathering place,” will open in Los Angeles in 2024,
offering a kinetic and tactile journey for families that unites awe-inspiring experience
with positive action for the planet.

Harnessing nature for wellness is now an essential life skill. While people are getting
reacquainted with the wonders of nature, there’s still an untapped opportunity for
brands to educate people more broadly on its lifelong wellbeing benefits as well as
facilitate more regular exposure. This delivers a win-win: the rewards of time in nature
are well documented and it can also deepen awareness and advocacy. As the saying
goes, we conserve what we love.
“I seek out more opportunities

to immerse myself in nature now
than pre-pandemic”
78%
63% 61% 64%
Optimistic
Dark Joy Explorers Digital
Devotees Hunters Dreamers
The BBC Earth Experience in London, UK. Photography by Philip Volkers

Anton Sæten
(he/him), Norway
Content creator Anton Sæten shares clips on TikTok of his daredevil stunts, from aerial I’ve always liked to push the limits, but I do
skiing to somersaulting into icy lakes. Having grown up with an outdoors lifestyle, he things at my own pace. If it’s way out of my
finds serenity in nature. We asked Sæten about what drives him to seek out big thrills. comfort zone, I’m not going to do it.
If I find myself in a dangerous situation, my
Ever since I was little, I’ve been drawn to getting out in nature, preferably away from anywhere brain switches and goes into survival mode
you can see houses or human activity. It’s just a freeing feeling. instead of being scared. It’s like everything else
We have amazing nature in Norway. Especially on the west coast, we have a lot of rainy doesn’t matter; it’s a weird feeling. Everything
days and short days in the wintertime—part of the culture is getting outside as much as possible just stands still and usually I do pretty good
when the conditions are nice. evaluations quickly to get out of situations.
One of the most fun things about trying a
new trick or a new activity is that the only place
Anton Sæten
you are in that exact moment is just right there.
You’re super-present. Every other thing in the I was all the way up to 22 minutes. After a while
world just doesn’t matter. I think that’s the you get used to the shock.
feeling I hunt when I do new, bigger things: I think people are just bombarded with
that super-present feeling. stress. [It’s important to] get out there and just
I’ve only recently really tried to see how my disconnect. It doesn’t have to be anything
body reacts to ice dipping. In the beginning I fancy—a nice trail around a lake, up on a
hated it, but that made me want to try it more. mountain, or a bike ride—just to get your mind
I would fill up my bathtub with snow and ice. off things. I think that’s good for your mental
The first day I did three minutes. After a month health now and long-term.
In terms of my social channels, I’m trying
to use them to spread positivity and fun. I’m also
just enjoying the process along the way.
Anton Sæten
The age of re-enchantment 02—Transcending Intrepid dining 64
Intrepid dining
Jaw-dropping dinner settings are satisfying diners’ hungry
stomachs and eager minds with outlandish, thrilling, and
immersive meals and experiences.
According to a survey conducted by Wunderman Thompson Intelligence, 80%

of consumers want to be wowed on trips, and 81% are interested in traveling to
awe-inspiring and spectacular destinations. Consumers are thirsty for adventure
and new experiences. Why not serve them up something tasty at the same time?
In June 2023, Veuve Clicquot will welcome up to 28 guests to Champagne, France,

for an incredible deep-sea tasting. Inspired by an 1800s shipwreck off the Åland
Islands in the Baltic Sea—where 47 bottles of Veuve Clicquot champagne were
uncovered by divers after more than a century underwater and found to have
remained preserved—the brand has regularly hosted tastings as part of its “Cellar
in the Sea” program. Guests are invited to compare champagne aged underwater
with that aged on land, in its chalk cellars in Reims. This year, however, those brave
tasters who are also experienced divers will have the chance to descend into the
sea themselves to witness the extraordinary treasure lurking beneath the waves:
the Åland Vault that now formally houses the project’s bottles underwater.
Avid aviators may never even have to leave the skies on their next trip. In 2024,
OceanSky Cruises will launch its floating five-star airship hotel. The Swedish
company will welcome elite daredevils on this lighter-than-air, sustainable expedition
from Longyearbyen, Svalbard, to the North Pole. Guests will board and disembark
at undisclosed remote locations, and will enjoy meals prepared by an award-winning
chef, spacious cabins for luxurious comfort, and panoramic windows for perpetual,
unbelievable views.
The Cellar in the Sea experience by Veuve Clicquot in the Åland Islands, Finland
Wunderman Thompson data reveals that 68% of consumers prefer to spend time in
places that spark their imagination. For diners who crave awe-inspiring mystery and
suspense as their main course, one of New York City’s newest speakeasies is sure
to thrill. The Office of Mr. Moto, which opened in January 2023, requires guests to
decode a cypher in order to enjoy the restaurant’s multicourse omakase. The code,
if cracked, opens a Victorian-era mailbox at the front of the restaurant to allow diners
entry to the intimate, part-restaurant-part-museum experience. For beverage
pairings, guests have to rack their brains to solve an additional cypher.
At Eatrenalin in Rust, Germany, hungry visitors can enjoy their meals as part of
“an emotional and culinary experience.” Guests sit at individual “floating chairs”
and tables that move and rotate around the restaurant as if part of a theme park ride.
Instead of encountering roller coasters and water parks, diners are immersed in a
series of multiversal settings. Alternating lighting, music, and visual experiences
are paired with fine-dining cuisine to complement the emotions of the story,
which follows an artificial intelligence hostess that just wants to become human.
68%prefer to spend time

in places that spark
their imagination
Eatrenalin
“I think we are experiencing a little bit of a surge in what people were calling revenge
travel, and revenge experiences,” psychology professor Kenneth Carter tells
Wunderman Thompson Intelligence. “I think that’s what we’re seeing in this thirst
for the unusual, this thirst for authentic experiences, this thirst for this newness,
because we had a year or so where things didn’t feel new.”

Fine dining and fantastic views are never out of style; but these adventurers are
craving more than a good meal. Intrepid diners are setting sail on excursions that
evoke unforgettable awe and discovery to feed their minds and hearts, as well as
filling their stomachs.
“I prefer to spend time in places

that spark my imagination”
73% 74% 70%

64%
Dark Joy Optimistic

Devotees Hunters Digital
Explorers
Dreamers
OceanSky Cruises visualization by Kirt x Thomsen

The age of re-enchantment 02—Transcending Monumental wonders 67
Monumental wonders
Unprecedented, vast scale can be used to design environments
and customer experiences that elevate consumers’ sense of
wonder and wellbeing.
“A gateway to another world, at a scale that’s unprecedented, where you’ll feel

wonder, amazement, and your heart race.” This is the Mukaab, jewel of the New
Murabba futuristic megapolis in Riyadh, and the latest of several monumental
projects in Saudi Arabia that are being promoted as the “new wonders of the world.”
The Mukaab is slated to complete in 2030, and the vast cube-shaped structure, large
enough to hold 20 Empire State Buildings, will dominate the skyline. “The world’s
first, immersive, experiential destination” will also harness the latest technologies
to offer “ever changing environments” that interact with the wider landscape.
Awe-inspiring, to say the least.
Monumental experiences, whose vastness makes us feel small, can be good for
us, helping to put life into perspective and even increase connection with society:
89% say that awe-inspiring experiences make them feel good, while 78% say the
experiences make them feel more connected to the world.
Now brands are applying these same principles to retail environments and customer
experiences, injecting a sense of wonder and elevating customer wellbeing.
SKP-S Chengdu retail park in China by Sybarite. Photography by Shihao Xiao

Digital rendition of the Mukaab, part of the New Murabba development in Saudi Arabia
Japanese sweets specialist Shunkado brought wonder to its new headquarters in

Hamamatsu City on the south coast of Japan, which is imagined as a two-story
dining table with larger-than-life chairs tucked around the outside. The arresting
scene makes passers-by feel as if they’ve stumbled into a land of giants from a fairy
tale, and the theme continues in the building’s public restaurant and café, where
oversized tea pots and tea cups are placed throughout.
Another “land of the giants” experience comes courtesy of French fashion label
Jacquemus, which sent renders of giant handbags on wheels seemingly speeding
through the streets of Paris in a recent video activation.
When creating monumental structures, sustainability must be a key consideration.

London-based global design studio Sybarite delivered on this with the 190-acre
landmark SKP-S Chengdu department store in China, which is based on the
sustainable “sponge city” concept. The “sunken” luxury retail park is made up of
five subterranean levels and the tone is set at the ground-level SKP Park, of which
75% is covered in greenery, including 33 gardens. The landscape is dominated by
The Tower of Life, a series of 26- and 36-meter-high “lantern-like towering water
beacon sculptures” emitting ever-changing light patterns and displays.
The monumental is also infiltrating public artworks. Danish-Icelandic artist Olafur

Eliasson, in collaboration with British writer Robert Macfarlane, plays with light and
reflections in their proposed reality-bending spectacle for Silecroft Beach in West
Cumbria, in the United Kingdom, to accentuate the site’s existing natural beauty.
As part of their Your Daylight Destination installation, due for completion by 2025,
a 98-foot-long metallic trough will be installed into the sand at the beach.
Shunkado’s Sweets Bank HQ by Nikken Sekkei. Photography by Kenta Hasegawa

This will be submerged when the tide is in, and fill with water as the tide goes out,
creating a vast, picturesque reflection of the clouds and sky above. Eliasson says
that the project is “a humble reflection of what is already there—the beach, the water,
the sky, the plants and animals—reframed within a space that invites self-discovery
in a deep-time perspective.”

By embracing the potential of scale we can create physical environments and
customer experiences that make people feel as if they are part of something bigger,
and something that transcends their understanding of the world.
“Awe-inspiring experiences
make me feel more connected
to the world”
87% 91%
74% 71%
Joy Optimistic
Dark Hunters Explorers
Digital
Devotees
Dreamers
Artistic rendering of Your Daylight Destination by Olafur Eliasson with Robert Macfarlane

“Awe feels like a lost relic, especially in the sphere of architecture, art, prose,
and design. Modern design often favors practicality and mass production over
something worth looking at, which inspires us and makes us feel truly alive.”
French male, 24 
 
“Visiting the local botanical gardens induces a sense of awe, as being in any
beautiful natural location usually does. The feeling at the time is that you are
very small and insignificant in the bigger picture of nature and the universe in
general. However, this is not a bad thing at all, as it creates a sense of freedom
that was not there before. It reinforces the idea that your actions will most likely
not have an effect on the whole universe and so allows you to trust your intuition
more when making decisions, rather than constantly second-guessing yourself.”
Moroccan female, 18
 
“When I went on holiday to a national park in Utah, America, and we did a route
called The Narrows, it was actually insane. You basically hike through a mountain, SKP-S Chengdu retail park in China by Sybarite. Photography by Shihao Xiao
go through water that comes up to your waist—and it can get higher—and it’s just
so beautiful. I was in awe of how beautiful the place was. How am I here? How am
I doing this? How lucky am I that I get to experience a trip like that?”
British female, 26
“People are chasing an experience
heart beat
that makes their
a little faster in anticipation, something

that will be ingrained into their mind, so when
they think of that feeling of shock and awe
they are thinking of your brand.”
/ Indian male, 23
The age of re-enchantment 02—Transcending Multiversal luxe 72
Multiversal luxe
Brands are embracing the otherworldly to enthral
luxury consumers.
As we enter what many are calling the age of the new space race, a flurry of
luxury brands are turning to the allure of the otherworldly and the multiversal to
capture the attention of ultra-high-net-worth consumers for whom the Earth
is no longer enough.
London-based global design studio Sybarite is behind some of the most ambitious
otherworldly retail designs in China. Discussing the power of otherworldly design,
the studio’s cofounders Torquil McIntosh and Simon Mitchell tell Wunderman
Thompson Intelligence: “Channeling the otherworldly is about presenting a unique
shopping experience that is wired with intrigue; a world that is different to our own,
a vision with a different perspective. Humans, by nature, long to explore in a different
dimension. Customers are drawn to the idea of being able to access a higher level
of consciousness with encounters that delve into the depths of their minds and
bring escapism.”
Premium Chinese patisserie brand Holiland channels the multiversal, kitting out its
Shanghai store as an intergalactic spaceship. It features a wormhole that promises
access to another dimension, LED screens showing the “multiverse” world outside
the store’s windows, and products inspired by colorful meteors, enabling visitors to
be fully immersed in the possibilities of the otherworldly.
Future Narrativism in the Multiverse, Holiland Travel

A sense of childlike wonder at the infinite mysteries beyond Earth are also infusing
creative communications. Burberry’s “Night Creatures” campaign video from
October 2022 depicts three protagonists as they encounter an otherworldly sci-fi
creature. The latest iteration of Louis Vuitton’s “Towards a Dream” campaign
for 2023 is set in the breathtaking Chilean mountains, and opens with scenes
of a UFO emitting otherworldly orbs of light before guiding a group of children
on an unforgettable adventure.
Long a source of wonder, space is taking on renewed significance as NASA gears

up for its Artemis lunar mission in 2024, and commercial space travel and asteroid
mining come closer to reality. This is inspiring a new generation of interstellar
aesthetics on the luxury catwalk. Gucci’s Cosmogonie show in May 2022 celebrated
the stars with luminescent fabrics and constellation-covered looks, while Dior
collaborated with NASA for its fall 2023 menswear collection, “Guided by the Stars,”
featuring vivid images of remote galaxies captured by the James Webb Space
Telescope. Dior Men’s artistic director Kim Jones told Women’s Wear Daily, “You’re
looking into the unknown, which is very, very beautiful. The vastness of it is the thing
that I think is so enthralling, or terrifying to some people.”
Chanel also evoked the thrill of space exploration, erecting a giant popup Moon Base
in Tokyo for its “Once Upon a Moon” activation in late 2022. Visitors could pose for
photos in the Chanel Moon Rover before receiving a complimentary space-themed
passport as a souvenir of the experience.
Future Narrativism in the Multiverse, Holiland Travel

The multiverse is suggestive of infinite possibility, and this offers a much-needed

source of optimism, according to artist Jason Silva. “What’s happening in the world
of innovation, to me, feels like the ultimate antidote to existential distress,”
he tells Wunderman Thompson Intelligence. “We feel so small and meaningless,
but we make space shuttles. Our tools and technologies are the means by which
we transcended our limits and our existential smallness.”

While the otherworldly has long captivated humanity’s imagination, its renewed
popularity with luxury brands underlines a collective yearning for playful adventure
and discovery that delves into the depths of our minds.
“I like to be transported

to other worlds by stories
and narratives”
79% 77% 80%

71%
Dark Joy Digital

Optimistic Dreamers
Devotees Hunters
Explorers
“Guided by the Stars” men’s fall 2023 collection by Dior

The age of re-enchantment 02—Transcending Sensory techtopias 75
Sensory techtopias
Advanced technology offers new opportunities to deeply
immerse and engage people, tantalizing all of the senses.
New innovations are offering sensory ways for brands to connect with consumers
and, after a couple of years of sensory deprivation due to the pandemic, demand
is potent. According to Wunderman Thompson data, 63% of people want brands
to provide them with multisensory experiences, and 72% expect as many of their
senses as possible to be engaged when experiencing something new.
Previously, visuals have dominated experiences and, indeed, sight is the sense
that people most frequently expect to be stimulated when enjoying experiences
(see chart on next page). Now brands are increasingly able to tap into all the
senses to truly amplify immersion.
Xydrobe, launching in 2023, is a pioneering experiential concept for luxury retail

that aims to immerse people in the vision and ideology of a brand. Shoppers will
step inside a mysterious black “one-person experience pod,” a physical portal
to transport them to virtual realms using “stunning visuals, scent, surround sound,
and temperature control.”
xydrobe’s one-person experience pod

Sensory Techtopias: What drives sensory experience

Most important sensory element for an intense and memorable experience
3 KEY
What I saw
4 What I tasted
What I felt
What I heard
5 What I could smell
Explaining the thinking behind xydrobe, CEO Nell Lloyd-Malcolm tells Wunderman
Thompson Intelligence: “You get an emotional reaction out of people when you
have something that’s multisensorial. It feels real, so you’re able to put people into
situations that they would never be able to do otherwise. It’s being a time traveler;
it’s being someone who can actually feel as though they’re experiencing extraordinary
things. We can’t achieve that in traditional retail, and we definitely can’t achieve
it on ecomm.” Lloyd-Malcolm promises an experience that will “provide an outlet
for brands to start engaging with storytelling that’s on a similar level to these big
blockbuster Hollywood movies.”
Speaking of Hollywood, at CES 2023 Canon showcased its latest immersive tech
innovations, in a partnership with the Universal Pictures thriller Knock at the Cabin,
directed by M Night Shyamalan. Entering a full-size replica of the eponymous cabin,
visitors were transported into the story via one of four immersive technologies,
including Canon’s Kokomo virtual reality (VR) software, which enabled them to
enter a photoreal environment and speak to one of four characters from the movie.
Visitors wearing the Canon MReal mixed reality headset could put themselves in
the characters’ shoes, barricading the doors of the cabin with virtual furniture while
under attack from intruders trying to smash their way inside.
People rank touch as the third most important sense in delivering experience,
but as Jody Culham, Canada research chair in immersive neuroscience at Western
University in Ontario, tells Wunderman Thompson Intelligence, the lack of “feeling”
in VR is a major gap right now. “The big thing that’s lacking is a sense of touch,”
she says. “There’s nothing commercially available that’s widespread.” In the future
it should be possible to add this layer.
Johnnie Walker’s 2022 Depth of Blue multisensory experiential

pop-up at the Mandala Club in Singapore
In Japan, NTT Docomo and collaborating institutions are developing the world’s first
sensation-sharing technology, which allows users to send movements or tactile
sensations digitally. Docomo already has plans to build on its Feel Tech technology,
enabling the sharing of other sensations, like taste, hearing, and even emotions.
Smell is the sensation that people least expect to play a role in immersive experience,
and olfaction is the least understood of our senses from a scientific point of view, yet
research tells us that it is highly evocative, able to transport us instantly to another
place or time by triggering memory.
Experience designers are now experimenting with scent as a narrative device to

engage viewers more deeply. At the 2022 Cannes Film Festival, Indian film director
A R Rahman premiered Le Musk, a VR cinematic experience that tells the story of an
orphaned heiress on the trail of three mysterious men, each with a distinctive scent.
Sensory direction was provided by London-based multisensory extended reality
studio The Feelies, which created bespoke scents. Viewers watched the film from
immersive VR chairs by LA-based Positron, which also incorporate motion, pitch,
and haptics.
Japanese scent technology company Aromajoin is helping to bring multisensory

experiences to the home with its Aroma Shooter, a digital scent device premiered
at CES 2023. Designed for gaming or movies, the technology can synchronize smells
to videos using “solid state” cartridges, instantly toggling between different scents.
It’s worth noting that there is a sweet spot for the intensity of sensory immersion.
While 64% of people expect digital and virtual experiences to activate all their
senses, 54% report finding multisensory experiences overwhelming. This seems
like a conundrum, but researchers are already working on a solution.
Banshee, 2023, by Matthew Schreiber, part of the 2023 Thin Air

exhibition at The Beams in London, UK
Adaptive entertainment can adjust to individual preferences based on various

biomarker metrics tracked using artificial intelligence (AI) and affective technologies
like facial recognition. Coltan Scrivner, a behavioral scientist at the Recreational
Fear Lab in Aarhus University in Denmark, shared details of ongoing work to develop
“a VR game that learns what you’re afraid of. The idea is that instead of scaring you
as much as we can, we want to keep you in that sweet spot, where you’re having the
most amount of fun.” Such interactions will get ever slicker, as Ian Beacraft, CEO
and chief futurist at Signal and Cipher, explained at SXSW 2023: “It’s not just about
creating with AI. It’s about relating with AI. We’re actually going to have some sort
of relationship with it.”

After an extended period of global sensory deprivation, we are on the brink of a new
era of tech-powered sensorial enrichment, which will offer brands new and exciting
opportunities to deeply engage and wow audiences.
“I expect as many of my senses

as possible to be engaged
when it comes to experiencing
something new”
82% 78%
73% 70%
Optimistic Digital
Dark Joy Explorers
Devotees Dreamers
Hunters
We Live in an Ocean of Air VR experience by Marshmallow Laser Feast

The age of re-enchantment 03—Reimagining 80
03
R im
e agining
The final stage of re-enchantment imagines a better future,
challenging the status quo and fostering optimism for what
comes next. There are opportunities for brands to help reimagine
our connections to each other and to nature, to build better
relationships with technology, and to reassert the right to fun
and joy in our lives.
The age of re-enchantment 03—Reimagining 81
The Horror Show!, A Twisted Tale of Modern Britain at Somerset House, London 2022-2023.
Tim Etchells, All The Things, 2020 © Tim Etchells. Courtesy of the artist, © Paweł Ogrodzki
The age of re-enchantment 03—Reimagining New spiritual rebels 82
New spiritual rebels

A creative rebellion, led by the feminine and the marginalized,
presents a challenge to the status quo.
Popular culture is mining dark themes—encompassing witchcraft, the grotesque,

and the monstrous—to challenge the status quo. Questioning traditional power,
it offers alternatives: the feminine, the marginalized, the self.
In October 2022, The Horror Show!, an exhibition at London’s Somerset House,

explored 50 years of creative rebellion via a triptych of dark themes: Monster, Ghost,
and Witch. The grotesque and the monstrous stand for the rejection of conformism
and an explosion of raw creativity. In the Witch theme, “we see ways to unmake our
world and reorder it so that it might be remade anew,” says Somerset House senior
curator Claire Catterall, in an interview with Wunderman Thompson Intelligence.
Witchcraft never really left the cultural narrative, and its influence is on the rise. 2023
has already seen a surge in “witch-lit” according to the Guardian, not to mention
TV shows like The Mayfair Witches and Netflix’s Wednesday, while #witchtok boasted
more than 41 billion views on TikTok as of May 2023. Celebrities like Kylie Jenner and
Julia Fox are channeling so-called “succubus chic” and wellness brands such as Palm
of Feronia and Kate Moss’s Cosmoss draw on mystical cues. The British perfumer
Vyrao has even tapped a psychic to cocreate its scent The Sixth.
The Horror Show!, A Twisted Tale of Modern Britain at Somerset

House, London 2022-2023. Anna Bunting-Branch, W.I.T.C.H.
(“We Invoke the Culture of Heretics”), 2015. © Anna Bunting-Branch
The Horror Show!, A Twisted Tale of Modern Britain at Somerset House, London 2022-2023.
Juno Calypso, A Dream in Green, 2015. © Juno Calypso. Courtesy of the artist
As younger generations come of age in an uncertain world, they are seeking meaning
and control in practices like tarot, crystals, and manifesting, reinventing spirituality
for the TikTok era. Among generation Z, 51% report an interest in non-traditional
spirituality, compared to 34% of the total population.
The witch, says Catterall, also represents our ability to “imagine and effect radical
change.” Traditionally associated with the feminine, it now “seems to have broadened
to embrace these new voices, and all marginalized and oppressed bodies.”
The grotesque and monstrous can also point to this disruptive assertion of power.
The fashion designer and artist Michaela Stark creates body-morphing lingerie
designs that deliberately distort the body, creating looks that channel the grotesque
and challenge convention. She recently styled the nonbinary artist Sam Smith for
Perfect magazine. Italian surrealist photographer Giulia Grillo, aka Petite Doll, creates
beauty in the grotesque and otherworldly, while makeup artists including Eszter
Magyar and Aoife Cullen are exploring brutal, ugly, or monstrous beauty as a means
of “reclaiming power,” as Cullen told Dazed in March 2023. The LGBTQ+ artist Oliver
Sim is no doubt channeling his sense of being othered when depicting himself as
a monster on the cover of his album Hideous Bastard. Almost half of generation Z
(45%) and 38% of millennials express a liking for aesthetics that others might find
grotesque, compared to just 10% of baby boomers.
This channeling of the dark, mystical, and monstrous is a tool of provocation and
a way to call out the issues of our time, such as misogyny, racism, homophobia,
and the climate crisis. In Catterall’s view, the 21st-century witch wants to
“break things down and build them up again in paths to inclusive post-capitalist,
post-colonial, many-gendered futures.”
Artwork for the Hideous Bastard album by Oliver Sim. Image courtesy of Beggars Group
Advaya is a female-led collective that aims to conceive this better future. A global
transformative education platform centered on ecology, spirituality, and wellbeing,
it advocates “radical regeneration and joyful revolution.” In raising awareness and
empowering young people to become a voice for change, it aims to offer resistance
while easing a transition to a better, kinder, and healthier world. Current courses
focus on spiritual ecology, healthier relationships with technology, and a six-week
Restoring Masculinity course that aims to re-imagine contemporary masculinities.

“Our increasingly digitally dependent
A new, better world is fighting to be born. These are its creative shoots, offering
lives have shrunk into the palms of catharsis, and also hope and a glimpse of a better, more inclusive, eco-centric future.
our hands and this has allowed us to find
voices
new ways of connection. It’s created
a global coven of sorts and allowed new
to be heard.”
“I’m interested in
non-traditional
spirituality”
44% 42%
/ Claire Catterall, senior curator, Somerset House 31%
25%
Dark Digital
Devotees Optimistic Dreamers
Joy
Explorers
Hunters
Notty Stewart
(she/her), United States
Notty Stewart identifies as a witch and is a practitioner of traditional African-American than me out there, but I’m not resonating with
rootwork practices. Drawing from a diverse range of techniques, including manifestations, any of these religions.”
divination, and alternative approaches to healing, she claims to connect with spirits and What really brought me towards spirituality
ancestors. Stewart aims to help individuals who seek spiritual awakening and she has was the freedom in it and the non-judgment of it.
more than 216,000 TikTok followers as of May 2023. We asked her what drew her to this When my family found out this is what I
type of spirituality. practice, a lot of them didn’t accept me.
From manifesting my desires, I started
I was always interested in the occult. As a kid, I really liked ethereal things like fairies. to cast spells and connect with my ancestors.
I wasn’t really in tune with the religion that I was born into, being a Jehovah’s Witness. One of the spells that I really liked to do a lot
I had this limbo for a couple of years where I was, like, “I know there is something bigger was connecting with the moon and using the
moon’s power to manifest my intentions or
Notty Stewart
release things.
Ancestral work can give us a connection Spirituality can make a change in the world.
to something bigger than ourselves. When We are seeing in real time how so many people
you need that secure guidance and you need are getting back into alignment with their
wisdom, you can go to your bloodline and ask higher selves, how they’re finding peace within
them for wisdom and guidance down your path, themselves, how they’re finding freedom, and
and they will help you get into alignment. They they’re not afraid of expressing their truest
will help protect you. They will help you express authentic selves, especially those in the
your authentic self. LGBTQIA community.
Everybody has different beliefs and it’s
time to be even more accepting of witchcraft
and spirituality.
If brands can incorporate major religions
Notty Stewart
into their work, they can incorporate witchcraft
and alternative spirituality along with that.
The age of re-enchantment 03—Reimagining Fear for good 87
Fear for good

Brands are using the arresting language of fear and horror
as a catalyst to inspire societal change.
Years of economic, health, environmental, and political crises have left the world in
a state of “deep turbulence,” as Claire Catterall, senior curator of Somerset House’s
The Horror Show! exhibition, tells Wunderman Thompson Intelligence. Rather than
shy away from the darkness, brands are incorporating elements of fear into marketing
to tell important stories, expose societal issues, and act as a spur to action.
Released in October 2022, the “Stay Down” campaign from the UK-based Social
Mobility Foundation calls attention to the insidious issue of social exclusion. Calling
on companies to end class pay disparities, the campaign apes the look and feel
of a typical horror film trailer. The short film follows an employee who is dismissed,
patronized, and overlooked because of his background and accent, and held back
while others with greater privilege thrive around him. The final message reads:
“Unfortunately some horrors aren’t fiction. Classism is still holding people down.”
Racism and hate speech in online gaming has become all too ubiquitous. Hoping
to change that is BIPOC-founded group Melanin Gamers, which launched The Watch
in 2022 to call on big games companies to make it easier to report in-game abuse.
Using real-life in-game footage of racial abuse and sexual harassment, the launch
video confronts viewers head-on with the uncomfortable reality and calls on gamers
to act by capturing and reporting instances of hate speech.
“Stay Down” campaign for the Social Mobility Foundation by Creature London
“The Don’t List” commercial by PETA

Similarly, the Women in Games collective in Argentina drew attention to the appalling
abuse female gamers receive online by inviting male gamers to pose as women using a
voice modulator. The violent comments made during the experiment were used in the
promotional Switch Voices video, using shock value to highlight the need for change.
While eco-activists and experts have been recommending cigarette-pack-style

climate change warnings on everything from fuel pumps to food products, the latest
campaign from People for the Ethical Treatment of Animals (PETA) takes a combative
approach to get its message across. Channeling the more dystopian elements
of the horror genre, its “The Don’t List” commercial aired during the March 2023
season finale of The Last of Us in the United States. The ad depicts a little girl in
an abandoned cityscape berating her parents for never explaining the potential
impact of animal agriculture on the planet. The warning is clear: if we don’t educate
ourselves and future generations about the potential consequences of eating
meat, eggs, and dairy, the child will ultimately be the last of us.
Another brand wielding fear in service of eco-awareness is Liquid Death, which

packages its water in aluminum cans. In October 2022, the company rereleased
its 45-minute scary movie Dead Till Death, in which its cans were cast as killers,
terrorizing young campers in the forest and even resurrecting when crushed,
to deliver an impactful sustainability message. The film (which is also available
for free on YouTube) was released on VHS tape—the most terrifying format of
all time, according to Liquid Death.
“Eat Them to Defeat Them” campaign by Veg Power

Offering another lighthearted take, the award-winning “Eat Them to Defeat Them”
campaign encourages kids in the United Kingdom to eat more vegetables. It features
monstrous vegetables that are taking over the world, and only children can defeat
them (by eating them, of course). Since 2019, the program states that it has led to 1.4
billion extra children’s portions of veggies being sold by retailers, proving the efficacy
of this scary but fun approach.

As psychology professor Kenneth Carter tells us, “You can be dark and unexpected
“In times of deep turbulence,
as long as the end of the story brings you back to your humanity.” As interest
horror’s inherent subversion in fear-tainment spikes, 59% of people say they seek out experiences that will
and transgression gives us challenge them, either physically or mentally. By carefully using elements of horror
an opportunity to imagine in advertising, brands can subvert expectations and challenge the way people
the status quo torn apart, think, inspiring societal change.
rebuild
before we
from there.”
“I appreciate
things that
are designed
to shock” 71%
62%
54%
Digital
Dark
/ Claire Catterall, senior curator, Somerset House Devotees 25% Optimistic Dreamers
Explorers
Joy
Hunters
The age of re-enchantment 03—Reimagining Next-gen luddites 91
Next-gen luddites
Generation Z are rejecting the overwhelming role of technology
in their lives and seeking more real and enriching alternatives.
While technology and the era of the smartphone have revolutionized our lives,
we’re witnessing the emergence of a new political movement of people and
brands questioning technology’s unchecked impact. In what the New Yorker calls
“The Age of Algorithmic Anxiety,” people—led by generation Z—are voicing their
concerns about the access and control technology has over our lives.
According to our survey, 67% of gen Zers believe technology makes us feel more
detached from the real world, while more than half (58%) agreed with the statement
“I feel like technology distracts me from living a more interesting life.” Momo Estrella,
head of design at IKEA China Digital Hub, explains to Wunderman Thompson
Intelligence: “When I think of joy, wonder, magic, I think the physical world still has
an advantage over the digital world. The digital world suffers a lot from distractions,
from the fact that it’s very hard to take you out of your context. It’s really hard to
transport you out of it, you rely on your mobile screen.”
In a bid to rediscover curiosity and spontaneity, some are turning their backs on
modern technology and returning to analog alternatives. This is evidenced by a spike
in paper map sales in the United Kingdom and the United States in recent years, and
by research from Nielsen BookData, which found that 80% of books bought by British
gen Zers are physical, not digital. In Argentina, rising sales of children’s books are
being attributed to the rise of gen Z bookfluencers on TikTok.
Photo by Lê Tân courtesy of Unsplash

At the same time others are embracing “dumb” electronics, such as digital cameras,
burner phones, and flip phones, which offer some of the benefits of modern tech, but
without the addictiveness and the distraction, and with built-in anonymity. A group of
New York teenagers known as the Luddite Club are exemplifying this approach to life.
Taking its name from the Luddite movement in 19th-century England—centered on
a group of textile workers who rebelled against the perceived negative impact of
machinery on their livelihoods—the club promotes “self-liberation from social media
and technology”. It started as a reaction to death scrolling and social media burnout,
and was also influenced by the freedom associated with opting out of technology.
The club meets weekly in a New York park, where members talk, draw in sketching
pads, and read physical books to each other.
In China, brands have been responding by experimenting with “slow flash stores,”
which encourage visitors to reconnect with the pleasures of the physical world.
Luxury goods marketplace Xiaohongshu (Little Red Book) opened the Little Sweet
Potato Slow Flash Store in Shanghai, prioritizing physical touchpoints and the ritual
of eating a sweet potato over the speed and efficiency of hyperfast food delivery.
The No Panic Life Memo Slow Flash Store, at the One Way Space cultural hub in
Beijing, also encouraged this real-world focus. The scheme was run in partnership
with Alibaba’s ecommerce site Taobao; any visitors who successfully read a book
for three hours without looking at their smartphones were invited to take the book
home for free.
Rather than requiring people to opt out of social media altogether, OneSec is a German
app that aims to empower people to moderate and take control of their usage. Every
time a user opens a social media app, it forces them to pause for 15 seconds, asking
them to take a deep breath and seriously consider if they want to enter into a potential
“mindless death scroll”.
OneSec app
Another concern about technology is that it stifles our ability to broaden our
horizons and discover new and interesting things. In our survey, 59% of gen Zers
say they worry that Big Tech algorithms are creating digital echo chambers.
Responding to this fear, French book, music, and consumer electronics retailer
Fnac launched its “Unrecommended by the Algorithm” campaign, which purposely
recommends products that contradict its algorithms. Customers could see
their “anti-recommendations” on a special microsite alongside such messages
as “The algorithm says that according to your profile you should not like this,
59%
but Fnac believes culture should be curious and free.”

Gen Z consumers are starting to weigh up the pros and cons of technology, and
are walking away if they feel it does not allow them to live and think freely. Brands
must embrace technology that enhances people’s lives without being overbearing.
They must also consider how they can reinject feelings of excitement and authenticity
into both their physical and digital experiences.
of gen Z worry that Big Tech

algorithms are creating
digital echo chambers
“I feel that technology

distracts me from living
a more interesting life”
56% 53% 50%

44%
Dark Optimistic
Joy Digital
Devotees Explorers Dreamers
Hunters

“Technology itself is magic, actually. It’s a type of sorcellerie [sorcery] also,
because we become addicted and we can’t stop thinking about what’s next.”
Indian female, 24
“The downside of technology is also one of its main advantages, which is

convenience. It's addictive and attention spans have gone out of the window.”
British male, 24
“If visualizing your goals hastens the process of getting there, technology
helps visualize this alternate reality.”
Moroccan female, 18
“I feel like technology is an ingenious way to reach people who have been
abandoned by traditional means, for example, people who have disabilities
or neurodivergence, or minority audiences.”
Nigerian male, 24 “Unrecommended by the Algorithm” campaign by Fnac. Image courtesy of Publicis Conseil
“[Through technology] everyone’s

constantly seeking that next thing,
that next exciting development.
We’re getting into this cycle,
,,
moment.
rather than staying present
and living in the
/ British female, 23
The age of re-enchantment 03—Reimagining Design untamed 95
Design untamed
No longer about just welcoming greenery in, biophilic design
now lets nature run wild.
Acute awareness of the plight of the planet is inspiring designers and storytellers
to imagine a world in which nature is set free and running riot.
In March 2023, scientists from the Intergovernmental Panel on Climate Change

(IPCC) issued their final warning to limit global temperature rises to 1.5°C. “Our
human-centric position—only thinking from a human perspective—is toxic and we
can’t sustain that in the current crisis with nature,” says Marcel van Brakel, founder
and lead designer at Dutch experience design collective Polymorf, and codirector
of Symbiosis. Selected for SXSW 2023, Symbiosis is a multisensory, multiplayer
extended reality experience that imagines a future in which man, nature, and
machine all combine in new ways to live in harmony. Incongruously beautiful,
this future world would be filled with genetically hybridized creatures, plant life,
and humanoids working synergistically. Using individualized haptic suits and soft
robotics, as well as taste and smell-based story elements, Symbiosis experientially
redesigns the human body to merge with technology and nature.
Blockbuster HBO series The Last of Us, which aired in early 2023, also tapped into
the notion of a world overcome by nature—this time through a fungus that invades
people’s brains, turning them into zombie-like creatures. For the enemy plants, the
designers took inspiration from nature, where often the most vibrant of flora is the
most dangerous. The fungus is grotesque and yet stunning because, as production
designer John Paino told Dezeen, “Nature has taken over and there’s a beauty in that.”
Flora from the Symbiosis multisensory XR experience

by Polymorf in collaboration with Studio Biarritz
Auto manufacturer Rolls-Royce collaborated with couture designer Iris van Herpen
on a nature-inspired bespoke Phantom Syntopia one-off commission. Van Herpen,
known for designs that tap biomimicry, set out to capture the beauty of the fluid
motion of water, and says, “I wanted this to become a state-of-the-art experience
being overwhelmed by the forces of nature.”
Designers including Shanghai-based studio Spacemen are now incorporating

overgrown nature into retail interiors. The studio’s store design for luxury leather
brand Braun Büffel’s Malaysian flagship outlet included a giant tree-like structure
covered in moss, which dominates the middle of the store. It bursts from the floor
and through the ceiling, alluding to “how it would grow out of a beaker in a mad
scientist’s lab towards natural light,” Spacemen founder Edward Tan told Dezeen.
Bringing this concept of a surreal natural world into buildings, architect Juan Manuel
Prieto used artificial intelligence to create his Habitable Monsters series. These living
eco-friendly future dwellings will be made from organic tissue, fur, and even fangs;
spaces that are inspired by nature to be more sustainable, accessible, and in tune
with the natural world.
The Urban Bloom flagship store for Braun Büffel by Spacemen

Snøhetta’s Under restaurant, which opened in 2019, is the perfect illustration of

humans working in concert with nature to allow it to thrive. The restaurant is half-
submerged off the Norwegian coast and was specifically designed to welcome in the
marine life around it over time. Now, four years on, with the rough concrete exterior
covered in algae and mussels, “nature has fully embraced and inhabited the building,”
the studio told Dezeen.

In line with the Indigenous Innovation trend in “The Future 100: 2023,” untamed
design reflects a growing acknowledgement of the need to work in harmony with
nature as well as a deeper respect for its power. With sustainability now rooted in
people’s values, brands and creators are choosing to visually articulate this concept
in the customer experience.
“I always seek experiences

that align with my values
around sustainability”
78%
72%
63% 67%
Optimistic
Dark Joy Digital
Explorers
Devotees Hunters Dreamers
The Habitable Monsters series created by Juan Manuel Prieto and DALL-E 2

Nature
has fully embraced
and inhabited
the building.”
/ Snøhetta
Snøhetta’s Under restaurant

The age of re-enchantment 03—Reimagining Radical reconnection 99
Radical reconnection
Brands are channeling collective effervescence to build networks
of connection.
Individualism has defined much of the world for decades, but could collectivism now
be coming to the fore? In a bid to restore connections with each other and with the
planet, some brands are adopting a prosocial mindset, advocating community, and
even collective effervescence (the energy and harmony released when people enjoy
shared purpose).
“I think the major human need that we are addressing is belonging,” says Radha
Agrawal who, for the past decade, has hosted communal morning dance events
under the banner of Daybreaker. In cities the world over, people of all ages, sexes,
and creeds come together to lose themselves in dance. “We are now returning to
the collective consciousness we’re meant to be,” says Agrawal. “Dance is the most
potent technology that exists to connect to both yourself, to each other, and to
the divine, to the spiritual realm. Dance is the most healing technology that exists.
It’s the most celebratory.”
A Daybreaker communal dance event

For brands too, says Agrawal, focus should now be on building networks of connection
that benefit their communities and networks at large. “I think the number one
KPI, the most important one, is the community, the collective KPI,” she explains.
“Right now, everything is follower based, individual based, everything is moving
to the toxic individual. The biggest opportunity that brands have is getting people
to connect with each other. How can this brand serve a community as a collective
rather than the individual inside of a community?”
Peoplehood, the latest venture from the founders of group exercise phenomenon
“The biggest opportunity
c nect
that brands have is getting
on
SoulCycle, responds to this need, carving out a communal space where the lost
daily ritual of meaningful conversation can be revived. “In a world that is more people to
digitally connected than ever, there’s a human connection crisis,” says Peoplehood
cofounder Elizabeth Cutler. During 60-minute guided sessions called Gathers, lonely,
disconnected, or overwhelmed participants meet virtually or in-person to “unload,
share, listen, and connect.” with each other. How can this
brand serve a community
Even in Asia, traditionally more of a collectivist culture, a need for deeper community
is manifesting. For the launch of its autumn/winter sports fashion series, Chinese
as a collective rather than the
fashion brand Peacebird dramatized the social isolation experienced by younger individual inside of a community?”
generations in a short film that shows a group of young dancers brought together
by symbolic beams of light.
/R
adha Agrawal, founder
and CEO, Daybreaker
In South Korea, where the concept of heung, which means “collective energy and
utmost joy” is central to culture and a defining feature of K-pop fandoms, charities
are looking to embed this back into society. Neet People, a not-for-profit, was
created to prevent young unemployed people from feeling isolated. Its community
space provides a focal point where people who are unemployed can connect and
support each other, while walking events offer bonding opportunities.
Wunderman Thompson data underlines this craving for connection: 85% believe
that “people seem to have less time for each other these days,” while 56% agree that
“there’s no sense of community anymore.” Four in 10 say they feel lonelier now than
they used to, peaking among younger generations, a pattern that is replicated across
all three countries surveyed.
Communal spaces and rituals hold the key to reigniting a prosocial mentality that
could build stronger, more robust communal relationships. And it is not just human
relationships that need some TLC. The United Nations’ IPCC panel recently delivered
its final climate warning to limit global temperature rises to 1.5°C and 71% of those
we surveyed say they are “anxious about the state of the planet.”
We Live In An Ocean of Air, which showed at the ArtScience Museum Singapore in

2022, is a virtual reality experience that highlights the connection between humans
and the natural world. Created by art collective Marshmallow Laser Feast, the
immersive experience visualizes the invisible yet fundamental connection created
by the exchange of oxygen and carbon dioxide between the two worlds. More
recently, the Symbionts exhibition at the MIT List Visual Arts Center calls for deeper
understanding of symbiosis so that humanity can “be better partners in caring for
the planet,” as exhibit curator Natalie Bell told The Crimson.

Brands are starting to embed collective-first thinking into their organizations.

Community-powered tourism platform Fairbnb, which expanded from Italy,
Spain, France, Portugal, and Belgium to the United Kingdom in February 2023,
only promotes hosts who are truly embedded in their local communities, while
a percentage of every rental fee is donated to a local community project.

The need for deeper connection, to each other and to the planet, is increasingly
evident. Brands can support this by encouraging a prosocial mindset, and facilitating
human and human-planet connections.
“I want to feel part

of something bigger
than myself”
78%
72% 72% 67%
Dark Joy Optimistic

Explorers Digital
Devotees Hunters
Dreamers
Miriam Simun, The Sound of a Bumble Bee Refusing to Colonize an Artificial Nest, 2022.
Installation view: Symbionts: Contemporary Artists and the Biosphere, MIT List Visual Arts Center,
Cambridge, 2022. Courtesy the artist. Photo: Dario Lasagni. Courtesy MIT List Visual Arts Center

“I think community’s super-important, and I think we're losing a little
bit of physical community lately. So building real communities that
are rooted in real spaces, I think is very important.”
American female, 21
“I think worship always gives me that sense of being part of

something bigger than myself, because you’re with a community
of people that all share the same beliefs. There’s something
so beautiful about it.”
British female, 23
“[When I feel part of something bigger] I feel a sense of peace, serenity,

and safety. I become much less stressed and reflective. I feel capable
of sharing my ideas and emotions, and become open to giving.”
Brazilian male, 20
A Daybreaker communal morning dance event
“Being a part of something greater than myself makes me believe
that I am capable of achieving the impossible.”
Nigerian male, 24
“There has to be feedback, especially for a live

performance. There’s got to be some people
to bounce that sound and energy off, to
see what their emotional reaction is, because
at the end of the day, it’s entertainment.
out-of-body
It produces an
experience.”
/ British male, 20
03—Reimagining Unleashing the joyconomy 104
Unleashing the joyconomy

Advocating for moments of joy, play, and fun can be a powerful
strategy for brands to uplift and engage customers.
Amid the so-called polycrisis, it might seem counter-intuitive that people are seeking
out opportunities for fun and playfulness. Yet the appetite for a “joyconomy” is
increasingly evident. Wunderman Thompson’s latest study finds that 89% of people
see fun as a necessity that keeps them going in tough times, while 83% seek out
experiences that bring them joy and happiness.
As charted in “The Future 100: 2023,” the need for joy is apparent in everything from
a surge in adults indulging in playfulness (Ageless Play) to the rise of joyful exercise
(Joy Workouts). Sales of little luxuries that deliver a dopamine boost, from mini-
candles to nail polishes, are booming in the United Kingdom, the Guardian reports.
Condé Nast Traveller has identified “joy therapy” as an emerging wellness trend.
Some even point to the symbolic revival of house music by the likes of Beyoncé
and Madonna as a signal of joy. May we also add the Barbie movie?
For brands there’s a potent opportunity to deliver on the joyconomy: joy is the
emotion most people want to feel more of, and 49% of people say they would
even be more likely to purchase from a brand that brings them a sense of joy.
Barbie, Warner Bros

The age of re-enchantment 03—Reimagining Unleashing the joyconomy 105
Unleashing the Joyconomy: Joy drives brand purchase intent

I’d be more likely to purchase a brand if it…
1
KEY
2 Brings me a sense of joy
Surprises and delights me
3 Relieves my stress
Inspires me
4 Does what it says it will,

no more and no less
Is sustainable
5 Gives me a multisensory experience

Fun-deprived.
“We are
,,
/ Mike Rucker, psychologist
and author of The Fun Habit
Loewe x Howl’s Moving Castle at the Selfridges Corner Shop in London, UK

The great thing about fun and joy, according to psychologist Mike Rucker, author
of The Fun Habit, is that they involve actions we can control and repeat. Unlike
happiness, they are not a state we try to achieve. Fun happens in the moment,
so “you’re enjoying yourself or you’re not.” Fun is also unique to everyone, so we
never suffer by comparison. Fun also brings a slew of other benefits validated by
research. It can make you smarter, improve your relationships, give you energy and
even reduce stress, says Rucker: “When we really bias our lives towards fun, and do
that mindfully and deliberately, we avoid mind wandering, which we know creates
good mental hygiene.” There’s even a scientific argument for leisure as a restorative
process to support brain function, just like sleep. The problem: we don’t make time
for it. As Rucker says, “we are fun-deprived.”
Hyperproductivity is a major culprit, with the glorification of the grind now driving
burnout. According to Microsoft global research across 11 countries, 48% of
employees and 53% of managers report already feeling burned out at work.
Some countries, like Belgium and the UAE, are making shorter working weeks
official, but in most parts of the world limits on hours are notional.
The attention economy is also a villain, eating into our potential fun time. “With the
exception of television, two or three decades ago our attention wasn’t for sale,”
says Rucker. “Now it’s for sale everywhere. So that does become problematic.”
There’s an opportunity now for brands to help people “rechild” themselves, facilitating
and advocating for play and fun, and 2023 is already seeing a rise in campaigns
channeling joy. Fashion brands are tapping into childhood nostalgia: witness Loewe’s
tie-up with Studio Ghibli or Mulberry’s collaboration with Dutch cartoon rabbit Miffy.
Retailers too are foregrounding fun, including Liberty, which kicked off the year with
its “Find Joy Within” campaign, and Nigerian-British designer Yinka Ilori, whose
first colorful holiday season pop-up store in London was designed to instill joy and
optimism in visitors.
Yinka Ilori’s pop-up store in London, UK. Photography by Ed Reeve
Other brands are encouraging people to make more time for fun. McDonald’s
“Raise Your Arches” TV campaign (originally for the United Kingdom, then remade
for the Gulf Cooperation Council region) depicts office workers abandoning
their keyboards and marching off together to enjoy a lunch break. Heineken
is also raising awareness of the negative impact of hustle culture by projecting
messages advocating a better work-life balance onto Manhattan office buildings.

Fun might seem frivolous but in tough times it is no laughing matter. A key contributor
to our wellbeing and driver of prosocial behavior, it’s what we want more of right now:
89% of people say fun is a necessity. Joy is already a key performance metric for
some pioneering brands. Daybreaker founder and CEO Radha Agrawal tells us that
the core KPI for the business is “tears of joy.”
“I want to feel more

joy in my life”
79% 78%
72%
66%
Joy Optimistic
Dark Digital
Hunters Explorers
Devotees Dreamers
Yinka Ilori’s pop-up store in London, UK. Photography by Ed Reeve

joy.
“The purpose
of existence is
If there
is no joy, then what
is the point?”
/ Deepak Chopra,
SXSW 2023
The BBC Earth Experience in London, UK. Photography by Philip Volkers

The age of re-enchantment Brand takeaways 110
t
Brand k y
a eawa s These trends offer a rich territory for brands,
with multiple routes to consumer engagement.
Here are our top 10 takeaways to consider on
the path to re-enchantment.
1. Set emotional KPIs

“One of our major key performance indicators at Daybreaker is tears of joy,” says
founder Radha Agrawal. In the age of re-enchantment, brand metrics will include
human emotions: heart swells, goosebumps, jaw drops, spine tingles, and more.
Measuring these customer outcomes alongside business metrics will be crucial,
says Momo Estrella, head of design at IKEA China Digital Hub, as people calculate
the value brands are adding to their emotional lives: “How much time are you helping
me save? How much more are you teaching me? What do I know now because of you
as a brand?”
2. Prioritize connection
“Rebuilding community is the fundamental social challenge of our era,” says
psychology professor Dacher Keltner. Daybreaker’s founder and CEO Radha Agrawal
agrees that “the biggest opportunity brands have is getting people to connect
with each other.” Our data aligns with this: 85% of people feel estranged, saying it
seems we have less time for one another these days. Brands have an opportunity
to facilitate meaningful connection, carving out rich opportunities for community
and offering rituals and spaces (both physical and virtual) that bring people together.
3. Enthrall the senses

Multisensory stimulation is central to re-enchantment: 68% of people say they seek
out experiences that stimulate the senses. This expectation holds whether IRL or not:
64% say they expect digital and virtual experiences to be multisensory too. While
“the physical world still has an advantage” when it comes to “joy, wonder, and awe,”
as Estrella tells us, the virtual world is fast building the capability to create sensory
journeys. More than half of users of mixed reality, augmented reality, and virtual
reality already say they find the experience more intense than reality, according
to Wunderman Thompson data.

4. Promote full-spectrum emotion

Emotions are now a key component of wellness, in line with an increased awareness
of the potential toxicity of the relentless quest for happiness. Darker feelings may
be uncomfortable but they offer an essential counterpoint as well as opportunities
for learning. Brands can help people navigate their peaks and troughs of emotion
70%
by advocating for and acknowledging the full spectrum of emotion.
of gen Z and millennials

want brands to evoke
intense emotions
5. Stand up for fun
Fun is an easy win for many brands, but can often be dismissed as trivial. A powerful
tool for wellbeing and resilience, it offers welcome respite in tough times. Fun also
offers a triple win for brands, delivering pleasure not only in the moment but also
in its anticipation and recollection. Brands can make a stand as advocates for leisure,
championing playfulness and building moments of uplift and joy into the customer
experience.
6. Escape the rational

Brands can offer a welcome respite from efficiency and predictability by building in
moments of serendipity and the unexpected: 74% of our respondents say they enjoy
an element of mystery and surprise in the things they do. Dark and fearful themes
can be surprising in and of themselves, so long as they are authentic and consistent
with brand values, while surreal and multiversal themes inspired by the digital world
are trending in culture.
Loewe x Howl’s Moving Castle at Calcifer's Kitchen, Selfridges in London, UK

7. Go dark
Leaning into fearful themes can be a way for brands to cut through. While not a
universally appealing territory, many people find darker themes thrilling: 32% of people
enjoy feeling the rush that comes with being scared. For some, horror can also be a
reaction, a tool to call out disenchantment with the status quo. It can even be cathartic
and comforting. As experts Coltan Scrivner, behavioral scientist at Denmark’s
Recreational Fear Lab in Aarhus University, and Claire Catterall, senior curator at
Somerset House, explain, recreational fear can offer a safe space to process anxiety.
8. Be a transcendent brand
Artist Jason Silva calls it “the deep now,” and it’s also known as “flow,” “the mystery,”
or “transcendence.” Those moments where our focus moves away from the self, and
we feel connected to something bigger, are said to be transformational and powerful
for our wellbeing. Late in his career, American psychologist Abraham Maslow even
put self-transcendence at the peak of his hierarchy of needs. Brands can nurture
transcendence via experiences that shift the lens away from the self, transporting
audiences and encouraging a prosocial outlook.
Horror
gives us a space to
voice our fears and stare
them down.”
/ Claire Catterall,
senior curator, Somerset House

9. Awe, quick and slow

Not every experience of re-enchantment needs to be a jaw-dropping affair. As
psychology professor Kenneth Carter explains, “You don’t have to be a thrill-seeker
to be an awe or sensation seeker. It’s those everyday sensations that make the world
beautiful.” Psychologist Kirk Schneider also makes a distinction between “quick-boil
awe,” which is brief, dramatic, and in the moment, and the “slow simmer,” which
is linked to a longer-term commitment to conscious reflection and introspection.
10. Strive for better

Re-enchantment, at its root, is a yearning for a better life. Just 25% are positive about
the way things are going in the world, and 71% would like a little more hope in their
lives. As previous WT research has confirmed, people expect brands to play a key role
in delivering a better future, by solving societal challenges. By centering key values
around caring for planet and people, brands can foster some much-needed optimism.
“You don’t have to be

a thrill-seeker to be an awe
seeker.
or sensation
It’s those everyday sensations

that make the world beautiful.”
/K
enneth Carter, Charles Howard
Candler Professor of Psychology,
Depicting a constantly moving figure, Transfiguration (2020) Oxford College of Emory University
by Universal Everything alludes to the elemental evolution of
nature as well as humanity's own emotional journey.
The age of re-enchantment Methodology 115
Methodology
Our research comprised several In addition to extensive desk research, we conducted a quantitative eight respondents from the United States and six from the United
methodologies and covered the study with SONAR™, Wunderman Thompson’s research consultancy. Kingdom. For all other markets, we used Imagen Insights for our
period January to April 2023. In February 2023, we surveyed 3,009 adults in the United Kingdom, field research, which involved 25 respondents from 15 different
the United States, and China. countries (Brazil, China, Democratic Republic of the Congo, Egypt,
France, Ghana, Guyana, India, Japan, Mexico, Morocco, Nigeria,
To uncover the four re-enchantment personas, we used Principal Senegal, Singapore, and South Africa). Imagen Insights closes
Component Analysis (PCA) to reduce 25 attitudinal statements the conversation gap between brands and gen Z consumers and
into four key experience themes. People were assigned to the has helped the likes of Amazon Prime Video, Google, Shelter,
experience theme they were most positively associated with and Unilever to engage their target demographic by providing
(the highest PCA score). Those who did not fit in a key experience gen Z insights within 72 hours.
theme (7% of total respondents) were excluded.
We also conducted in-depth interviews with 20 experts and thought
For the purposes of clarity, all statistics within the report, unless leaders from around the world, across sectors including science
otherwise stated, are reported for a combined total population from and technology, psychology, neuroscience, and brand strategy and
all three countries surveyed. marketing.
In March 2023, we conducted two online qualitative studies of All data was correct and up to date at the time of writing in
generation Z, speaking to 39 people aged 18-27. The first used our April 2023.
own proprietary qualitative research methodology and involved
The age of re-enchantment Acknowledgements 116
Acknowledgements
Wunderman Thompson Intelligence Nima Abbasi, partner, Maison Meta (he/him) Coltan Scrivner, behavioral scientist at the Recreational Fear Lab
would like to thank the experts Radha Agrawal, founder and CEO, Daybreaker, cofounder, Thinx, at Aarhus University (he/him)
and academics who gave their time and author of Belong (she/her) Daniel Shambo, creative director (he/him)
and insights to enrich this report Benjamin Benichou, CEO and cofounder, Drop (he/him) Jason Silva, artist, filmmaker, storyteller, TV personality,
Kenneth Carter, Charles Howard Candler Professor of Psychology, and futurist (he/him)
Oxford College of Emory University (he/him) Notty Stewart, witch and rootworker (she/her)
Claire Catterall, senior curator, Somerset House (she/her)
Jody Culham, professor and Canada Research Chair in Immersive We’d also like to thank the following Wunderman Thompson
Neuroscience, Western University in Ontario (she/her) people for their generous contributions:
Oliver Davies, PR and communications manager, Feverup (he/him) Emma Chiu (she/her)
Momo Estrella, head of design, IKEA China Digital Hub (he/him) Hiroyuki Hosomi (he/him)
Cyril Foiret, founder and creative director, Maison Meta (he/him) Jonothan Hunt (he/him)
Dacher Keltner, Professor of Psychology University of California, Juwon Jang (she/her)
Berkeley, and author of Awe: The Transformative Power of Everyday Joyce Ling (she/her)
Wonder (he/him) Sebastian Martinez (he/him)
Nell Lloyd-Malcolm, CEO and founder, xydrobe (she/her) Shannon McCauley (she/her)
Torquil McIntosh, cofounder, Sybarite (he/him) Diana Orrico (she/her)
Simon Mitchell, cofounder, Sybarite (he/him) Ernest Riba (he/him)
Mike Rucker, psychologist and author of The Fun Habit (he/him) Emily Safian-Demers (she/her)
Anton Sæten, student, content creator, and athlete (he/him) Guy Sexty (he/him)
Kirk Schneider, psychologist and author of Life-Enhancing Anxiety: Mark Truss (he/him)
Key to a Sane World (he/him) Daryl Yeoman (he/him)
The age of re-enchantment Acknowledgements 117
SKP-S Chengdu retail park in China by Sybarite. Image courtesy of SKP

The age of re-enchantment About us 118
About us
About Wunderman Thompson Intelligence Writers
Wunderman Thompson Intelligence is Wunderman Thompson’s John O’Sullivan (he/him)
futurism, research, and innovation unit. It charts emerging and Sarah Tilley (she/her)
future global trends, consumer change, and innovation patterns— Jamie Hannah Shackleton (she/her)
translating these into insight for brands. It offers a suite of Francesca Lewis (she/her)
consultancy services, including bespoke research, presentations, Carla Calandra (she/her)
cobranded reports, and workshops. It is also active in innovation,
partnering with brands to activate future trends within their Sub Editors
framework and execute new products and concepts. The division Hester Lacey (she/her)
is led by Emma Chiu and Marie Stafford, Global Directors of Katie Myers (she/her)
Wunderman Thompson Intelligence.
Creative Director
For more information visit: Dee Harrop (she/her)
wundermanthompson.com/expertise/intelligence
Visual Researchers
Contact Jamie Hannah Shackleton (she/her)
Marie Stafford (she/her) Francesca Lewis (she/her)
Global Director of Wunderman Thompson Intelligence
marie.stafford@wundermanthompson.com Front Cover Artwork
AI generated using Image Creator from Microsoft Bing
Editor-in-Chief by Jamie Hannah Shackleton and Jonothan Hunt
Marie Stafford (she/her)
Fonts
Monkeg | Elza
The age of re-enchantment
© 2023 Wunderman Thompson Intelligence. All rights reserved.

The contents of this report cannot be replicated, extracted, or hosted without consent.
Sharing of this report is permitted only via link to the original report download page on intelligence.
wundermanthompson.com, unless explicit consent is otherwise granted.

The Age of Re Enchantment

Uploaded by

Copyright:

Available Formats

The Age of Re Enchantment

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

The Age of Re Enchantment

Uploaded by

Copyright:

Available Formats

The age of

A REPORT BY WUNDERMAN THOMPSON INTELLIGENCE

Welcome to the age of re-enchantment

Brand takeaways 110

About us 118

The Last of Us, HBO

Generation Dread: Interconnected anxieties

RANK ALL COUNTRIES UNITED STATES UNITED KINGDOM CHINA

5 Infectious diseases and epidemics

The hyperrational world

“We tend to live in the trappings

and the ordinary.”

Attention for sale

The joy deficit

Dacher Keltner, psychology professor at University of California, Berkeley, and

The Uncomfortable Entrance by Katerina Kamprani, part of The Uncomfortable collection

Fraying social fabric

Engagement Mugs by Katerina Kamprani, part of The Uncomfortable collection

Awe and wonder

Joy and fun

83% actively seek out

Fear, dystopia, and the uncanny

A Daybreaker communal morning dance event

Thrill and adventure

Serendipity and surprise

Magic and mystery

76% agree that when something

Original consumer data collected using SONAR™, Wunderman

In a chaotic world, the global outlook is uncertain​

Biggest problems facing the world today​ Future outlook​

People are feeling depleted, detached, and uneasy

People seem to have less time I just want to feel something,

I am anxious about the state I feel there is something

Technology makes us more I feel like life is less exciting

I feel tired and

There is a widespread yearning for re-enchantment

People want more emotion in their lives (% agree)

83% Hope 71%

76% Awe 49%

People now expect brands to re-enchant them too

Brands should make more effort to wow me

I want companies and brands to provide

GEN Z MILLENNIALS GEN X BABY BOOMERS+

Re-enchantment drives brand engagement

RANK ALL GEN Z MILLENNIALS GEN X BABY BOOMERS+

5 Brings me a sense of joy

Dark Devotees (26%) Joy Hunters (21%)

Optimistic Explorers (24%) Digital Dreamers (22%)

feel most alive when appreciate things

AI-generated Nike “Impossible Store” on Mars by Benjamin Benichou

In an uncertain world, we’re seeking goosebumps. Despite, or perhaps because

In tandem, 2023 has ushered in a deluge of dystopian entertainment exploring dark

The Horror Show!, A Twisted Tale of Modern Britain

Coltan Scrivner, a behavioral scientist at Denmark’s Recreational Fear Lab at Aarhus

The Last of Us, HBO

WHY IT’S INTERESTING

“I like to feel a few

The generation Z take

on using aspects like awe

Brand takeaways 110

About us 118

In a chaotic world, the global outlook is uncertain

Biggest problems facing the world today Future outlook

“I like to feel a few

“We are more in touch with

“I want brands to

“I am interested in trying

“I love anything that

“I enjoy an element

/ Jenny Odell, Saving Time:

“I feel tired and

“I seek out more opportunities

“I prefer to spend time in places