In today's consumer-driven world, communication is a key factor in shaping our decisions and desires. But what happens when we step into a shopping center? Between whom does a "dialogue" take place, and what are the messages being conveyed? Is it simply a transactional exchange of money for products, or is there something deeper at play?

As we navigate the aisles of a shopping center, we are constantly bombarded by advertising messages that promise to transform us in some way, whether it's our status, style, or even our very identity. But behind these promises lies a complex interplay between two powerful forces: culture and nature.

On one hand, we have the natural world, which provides us with the raw materials and resources that form the basis of our consumer products. On the other hand, we have culture, which shapes our perceptions, beliefs, and desires, and uses advertising as a tool to transform these natural products into something more symbolic and meaningful.

From the conscious choices we make when selecting products, to the unconscious desires that drive our purchasing decisions, it takes place a complex interplay of nature and culture in shaping our relationship with the world of consumer goods.

*Culture vs. Nature: the structure of dramaturgical conflict in modern consumerism (Author: M.Rubov)*

In Poland, shopping centers were a kind of symbol of the free market economy, which began a new era in Polish commerce after 1989. Around 1993, the first modern commercial facilities appeared in Poland (such as the “Promenada” shopping center in Warsaw), street and bazaar trade flourished, including places similar to the Dziesięciolecia Stadium or the Defilad Square under the Palace of Culture and Science in Warsaw. Between 2005 and 2015, there was a period of dynamic development in the industry, which was the time of the largest increase in the number and surface area of commercial facilities in Poland. Shopping centers with a very wide range of shopping, gastronomic, and entertainment offerings began to emerge. Hypermarkets became the first shopping destinations, one might say the favorite shopping destinations.

Thanks to science, humans can produce products that are an extract of nature, and advertising can present them as natural products. This symbolic transformation of the product by advertising is a promise of the symbolic transformation of the consumer, their status, or style.

Today, when updating the content of this article, shopping centers have been present in Poland for over a quarter of a century. Westfield Arkadia is a retail and service center located in Warsaw, which opened under the name "Arkadia" in 2004. In Westfield Arkadia in 2020, there were, among other things, 240 shops, 37 restaurants and cafes, a multi-screen cinema, and a fitness club. In 2008, the brand's slogan was "Fullness of Life."

In order for a company to exist, there must be a two-way exchange of information. It can be said that “Arkadia” exists thanks to the transmission of information and communication with its surroundings. It became the starting point for analyzing the construction of the message that the marketers responsible for the brand's communication used.

*Culture vs. Nature: the structure of dramaturgical conflict using a shopping centre as an example. (Author: M.Rubov)*

The message of the "Fullness of Life" serves us with associations related to pleasant emotional and sensory experiences. How? It is not only the functionality of the center in terms of size or variety of choice that counts. "Arkadia" is to embody our individual fantasies and experiences.

The phrase "Fullness of Life" is given symbolic significance, the source of which is nature (emotions, health, etc.), and culture naturally transforms nature.

The name “Arkadia” comes from Greek mythology, where Arcadia is a region in the central Peloponnese that is often associated with an idyllic and pastoral paradise. The shopping center's name alludes to this idea of a modern-day consumer paradise, where people can indulge in shopping, dining, and entertainment all in one place. The name "Arkadia" also evokes a sense of idyllic paradise, which fits well with the idea of a shopping paradise. Furthermore, this mega retail environment resembles the anatomy of a city.

The world around us, which we create, influences our perception of reality and can shape our behavior through subconscious associations with nature.

At the front, the shopping center greets us with gastronomic gardens, a fountain, and carefully trimmed greenery. The organized space resembles a city market or a type of leisurely promenade, giving a clear signal that this is an excellent place for relaxation and rest, a place where each of us would like to stay as long as possible.

The interior is organized into four main passages: Kopernik, Canaletto, Twardowski, and Wisła, which are intended to resemble 19th-century European galleries, and their names refer to various areas of life, thought, and human environment: science, culture, mythology, and the city. A place created by humans and for humans.

Signposts and maps, green belts and pseudo-trees, small architectural elements, disposal post offices, banks, restaurants, entertainment centers, laundries, cobblers, and of course, shops - all reminiscent of the anatomy of a city. All this is to make us feel at home and intuitively know how to move around.

The entire world that stretches before us is already socially encoded. The spectacle begins here, which every user of this space performs. The shopping gallery itself separates us from the rest of the world, cutting out time like a theater building.

The nature of the enclosed space that “Arkadia” is to some extent suggests scenarios that can happen within it. Who performs on this stage? Who plays the main and supporting roles? In addition to service providers, sellers, traders (individuals or companies), and customers, random passers-by, customers, and so-called "regulars", who visit the center for recreational purposes also come to Arkadia. We cannot forget about the staff (security, cleaning, information, technical, warehouse workers, etc.). The roles of the first (visitors) and last (servicing) are uniformed, with a somewhat imposed scenario. But does it only apply to them?

The shopping mall, as a human-created “permanent space”, is one way of organizing individual and group activities (Hall). How we define ourselves in a particular place determines its specificity.

Culture itself writes scenarios at certain levels of formality, and we consistently play our role not only with clothing but also with behavior.

At Westfield Arkadia, we have access to diverse "scenes" to play our own scenarios, called "worlds". Due to the specialization of each place, the shopping mall building has been divided into several worlds: Fashion World, World of Big Shopping, Sports World, Entertainment and Relaxation World, Children's World, Health and Beauty World, and World of Flavors. All of them bring to mind a natural human environment or one with which we culturally identify.

Shopping centers are the hidden dimension of our associations with the natural world from which we originate. Perception of the space around us contains certain codes of functioning.

Each of the four passages of “Arkadia” is inspired by the environment and culture of humanity. In The Canaletto passage, motifs of urban architecture were used to create the atmosphere of a commercial street. The Wisła passage is designed to give the impression of a flowing river through the use of water motifs incorporated into the floor and ceiling. The Twardowski passage represents ideas from myths and children's stories, while decorative elements of The Kopernik passage refer to astronomy and mathematics. Various communication tools are available to help with navigation.

We have a range of natural and man-made signs, codes, and languages at our disposal, including written language (fonts, choice of words, phrasing), spoken language (voice selection, wording, phrasing), signs like maps and directional signs, and symbols and iconography like company logos and labels for specific amenities.

Our senses are affected by various elements such as colors, symbols, sounds, smells, lighting, and architecture of the places where products are sold. Media like giant screens, billboards, posters, and speakers also transform messages to communicate with us.

Building architecture as a whole includes a hidden code of our behavior, encompassing building structure, windows, roofs, service areas, corridors, scenes, architectural communication (stairs, passages, entrances, exits, elevators, directions), and architectural furniture like fountains, benches, trash cans, planters, and road signs. The objects designed for us in shops are not just products, but they also communicate with us through their design.

Various elements of the shopping experience affect our behavior and perception, including the design of the space where they are sold.

*Culture vs. Nature: the structure of dramaturgical conflict using “SEPHORA” as an example. (Author: M.Rubov)*

"Absolute sweetness. Shades of powdered roses combined with caramelized orange. A face with a tanned effect thanks to cinnamon powder particles. Eyelids illuminated with pastels: pink, violet, dove gray. Lips in candy-pink, glossy color." – this is how “SEPHORA” advertised its own line of cosmetics. The priority of this communication is to create an appropriate, sensual atmosphere. It refers to exclusive products: perfumes, makeup, and body cosmetics. Sweetness, juiciness, and natural flavors are organized in a poetic style, which clearly emphasizes the dominance of the aesthetic function. The atmosphere of the message is saturated with eroticism, affecting the sphere of emotions and senses. This significantly influences potential buyers because the message expresses their personality. Who is it targeted towards? An important factor in formulating persuasive messages is gender. Women and men have different needs.

Differences in the perception of the world and interests have consequences in the construction of messages. Images of individual products are clear signs for specific groups of recipients.

Messages directed at men are objective and straightforward and stereotypically refer to competition, dominance, and strength: "Are you ready?" – Wilkinson; "The best for men" –Gillette; "Scent exclusively for men" – STR8; "Dedicated to the dynamic man, whose energy and strength unleash natural sensuality. Perfect for a day full of experiences” – CHANEL Allure Homme Sport.

On the other hand, the hidden, sensual, and emotional world of women, care for beauty, aesthetic sensitivity, individuality: "Every woman is a star" – Yves Saint Laurent Cinema; "Surprises with unpredictable individuality" – Burberry The Beat; "Unleashes your dreams" –Calvin Klein EUPHORIA; "Obsessive desires, secret emotions" – Secret Obsession Calvin Klein.

Some products are promoted, which is a way of communicating with potential buyers, and gifts and bonuses are a way of establishing contact with them and maintaining relationships.

The relationships between the producer and their product and the buyer, can also be built through visual elements. The colors and shapes of packaging or the typography used are not insignificant in this regard.

The visual elements, such as the colors and shapes of the packaging, can spark feelings of excitement, curiosity, or even comfort. And let's not forget about the typography – the font used can convey a sense of sophistication or playfulness, making us feel drawn to the product on a more personal level.

In “SEPHORA", the most commonly used colors are gold and black, and cultural context plays a crucial role here. Black is often perceived as the color of elegance and mystery, while gold is a symbol of wealth, power, nobility, and divinity. Gold fonts on packaging give products a higher prestige in the eyes of potential buyers. The overall color scheme of the packaging determines the product and its characteristics. The color, images, drawings, and font type play a significant role. The product packaging itself becomes a carrier of information, and its appearance influences how we perceive it.

Using non-rational influences is supposed to emotionally engage and intrigue us. Many borrowings are used to construct more or less effective messages. The plot often resembles a fairy tale structure, and the hero becomes a mythical hero. According to Barthes, advertising is essentially one of the forms of contemporary myth.

A good example is the image of “Donna Karan New York” perfume. The product itself is shaped like an apple, and the name "Be Delicious" complements the image of a juicy, tasty fruit. But it's not about the fruit here. The recipient is supposed to become tasty and juicy, and the name directly addresses them. Models bite into the apple in a tempting way, glancing at the recipient. The small caption "Take a bite out of life" whispers to us like a promise of something forbidden. The reference to tempting with an apple in the Garden of Eden, where models (Adam and Eve) take on the role of tempters, causes our individual imaginations to have a significant impact on the way we think about sin, and what is commonly forbidden becomes even more attractive to us.

Discourse organizes codes of representation into a socially accepted coherent whole through ideological codes. Our consumption of nature is heavily mediated by the cultural discourses and ideologies that shape our understanding and representation of it.

Our ideas about what is "natural" or "unnatural" are constructed through cultural norms and values, which in turn inform our behaviors and practices towards the environment. Therefore, our consumption of nature is not just a physical act, but also a cultural one that reflects our broader societal attitudes towards the natural world.

Additionally, we can say that we consume nature through culture. The essence of trade is the movement of goods from their place of production to their place of consumption. The designers of “Arkadia” assumed a return to the essence of commerce and its significance for the city's development, thus the inspiration for the center was the city itself.

In developed societies, it has been increasingly recognized that mass consumption has its drawbacks. The degradation of the natural environment in favor of rapid industrial development, as well as the inconvenience of living in metropolitan areas, have led to the emergence of a pro-environmental lifestyle. This manifests itself in sensitizing consumers to environmental protection issues, reinforcing the belief in the superiority of natural products, and promoting health, vitality, and living in harmony with nature.

Our identity is fluid because it aims to adapt as best as possible to the conditions and social roles we play. In postmodern society, there is no fixed self, so we must create it each time for the purpose of a given interaction.

The variability of the identities we create, as well as the multiplicity of how they are perceived by our interaction partners, is a social construction.

Therefore, it is not who we are or what we have accomplished in life that matters, but how we are perceived. Shopping, owning, or using goods are aimed at building our own image, emphasizing our social status and prestige, and creating a desired impression on others. This is reflected in the slogan "Arkadia - the fullness of life."

Popular culture provides us with rich identity patterns. The possibilities for modeling oneself are immense, and a person becomes a sum of civilization that they carry within themselves.

Bibliography

Edward T. Hall, The Hidden Dimension, WWL Muza S.A., Warsaw 2006
Erving Goffman, The Presentation of Self in Everyday Life, KR Publishing, Krakow 2000
Maciej Mrozowski, Mass Media: Power, Entertainment, and Business, ASPRA-JR Publishing, Warsaw 2001

Sources

on-site observations as additional context and support
https://en.wikipedia.org/wiki/Westfield_Arkadia
https://www.westfield.com/poland/arkadia
https://i.pl/centra-handlowe-w-polsce-obecne-sa-juz-ponad-cwierc-wieku-tego-o-nich-na-pewno-nie-wiesz/ar/c3-15931185

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Cracking the cultural code: how nature and culture shape modern consumerism