Exploring Olfactory Frontiers: Reflexions on the Mall’s Sensory Enchantment

by Maria Vargas

The sun was approaching the horizon when I entered the Royalmount mall. This is relevant because, seen from above, the mall’s roof is adorned with a crown of skylights that allow sunlight to filter into the corridors during midday and part of the afternoon. I consider myself an official "hater" of shopping malls. Even though where I spent most of my life, in Colombia, shopping malls are places for meeting, recreation, transactions, and strolling, I despise spending time in these places, especially because of the feeling of confinement and lack of air that I experience in most of them. The afternoon light streaming through giant windows, along with the translucent roof and the open space, creates an atmosphere of expansion in which I felt welcome.

At Royalmount, from the moment you step inside, the vastness of the space transmits a sensation of freedom. But this sensation was soon overshadowed by the cold, gleaming floor, which, along with the linear metal structure, twisted my initial feeling of freedom, revealing with each step I took inward the predetermined functionality of each detail. Little by little, the liberating vastness gave way to a mix of contradictory sensations that began to make sense as I perceived the structure that contained us. The blue sky through the skylights, interrupted by black bars, revealed what seemed like a modern, vast, and polished cage. Every detail slowly uncovered its function and its perverse manipulation to evoke a fictitious ecstasy of novelty and fun. Once I accepted that I was in a giant cage, the sky visible through the skylights seemed to be there mainly to keep my body primed for the stimulation of the stores. They shone enticingly, just like the sky on the other side of the mall with the freedom to enter the stores that gleamed, calling for enjoyment, in sharp contrast with the bare, neutral aesthetic of the corridors.

They shone enticingly, just like the sky on the other side mall with the freedom to enter the stores that gleamed, calling for enjoyment, in sharp contrast with the bare, neutral aesthetic of the corridors.

In the corridors, a row of trees emphasized the confusion of mixed, contradictory sensations. Their green leaves evoked the eternal spring of the tropics where I grew up, since in the intensely orange autumn of those days, they seemed like a glitch in the Matrix. Seeing them, I felt compelled to forget that I was in a cage: forced to relax, to feel pleasure, uninhibited and at ease. When the sun began to set, the confusion deepened. The shadow of the trees on the floor managed to evoke an idyllic sense of the outdoors. With a certain thirst for nature, I approached the trees, but the deception slapped me in the face: the tree didn’t smell of anything. Visually, it had tricked my senses, connecting me with freedom again. But the invisible bars of the cage became more evident when the lack of scent revealed the artificiality of the three trees in a row, along with the absence of earth and wind.

I decided that maybe my nose could reveal some hidden truths behind this pantomime. Playing in the cage became possible, and I had fun realizing that when you move guided by your nose, other humans watch you with curiosity. I think I probably looked like moving in a pattern similar to that of flies, erratically going in and out of stores without any clear practical purpose, secretly searching for scents. The interactions with the confused employees in some stores became awkward, as if we had stopped following the script in The Truman Show.

For me, part of the wonder of what I adopted as a sensory hack of the mall is that it's invisible: some people stared at me, probably hoping to figure out what was motivating me to move in such an erratic way. They must have been frustrated because I made an effort to smell without making any gestures; I simply breathed and walked, focusing all my attention on the scent that entered through my nostrils. There was no visible goal in my walk, which must have seemed extremely strange in this context. I enjoyed a little internal chuckle.

I discovered that in the hall there were areas with an intense floral scent. Like a dog sniffing around, I tried to find those spots with the strongest aromatic intensity. I wanted to talk to someone from the cleaning staff and ask what kind of liquid they used on the floor, walls, or in the air to achieve such a pleasant scent—clearly designed to make us forget the cage. However, I couldn’t find a single cleaning staff member. Quite surprising, considering the place was immaculate.

I was fascinated for several minutes by the olfactory boundary between the hall and the stores. In some, this boundary was very noticeable, while in others, it was more diffuse. I thought about the evolution of sensory marketing from the 19th century to the present, reflecting on how the sensory experiences of  the olden-day stores were displaced by the functional spaces of discount stores and big-box retailers (Classen & Howes, 2014). Indeed, in stores like Sport Experts, with its functional and large-scale approach, the olfactory boundary was almost imperceptible. Essentially, the scent from the hall gradually faded as one entered the store. On the other hand, in stores like L’Occitane en Provence, which don't sell large-scale functionality but rather offer an intimate sensory experience, the contrast was striking. Its scent not only marked a boundary but seemed to snake ghostlike through the air of the hall: a subtle, unconscious, and effective seduction.

That scent captivated me and pulled me to the center of the store, where I saw the ceiling completely covered in dried plants: another attempt to deceive my senses. The most obvious assumption would have been that the smell came from the plants hanging from the ceiling, many of them colorful and striking. However, upon closely examining the species, I noticed they didn’t match the scent I was perceiving. Intrigued, I approached a salesperson and asked if they knew where that intense aroma was coming from. He suggested it might be from the creams they were selling, but upon checking, I found that wasn’t the case. I insisted on my question, and that’s when he revealed that the manager sprays the store daily with a spray that fills the air with that scent. Another simulation of nature.

There was one store where there was definitely no deception, but something profund and real: Browns Shoes. The olfactory boundary was a bit diffuse, but the strong scent of plastic and new sneakers was as intense as it was pleasing. The pleasure came from something that wasn’t artificially crafted to seduce the senses or add an experience to the brand that the products themselves didn’t have. Instead, the pleasure of smelling my new sneakers at the start of the school year bathed the store in a flash of vitality, a desire to do things right. The life experience that I—and countless consumers— associate with new shoes is linked to the materials used in most sneakers, which must be similar across the broad spectrum of brands. Also, their fleeting nature: the smell when they’re new is intense but short-lived, destined for a radical olfactory metamorphosis, which, in the worst case, turns into an unpleasant odor that, in Colombia, we call ‘pecueca’. The particular smell of their materials, combined with their fleeting nature, makes the olfactory experience of sports footwear a vivid and deeply real association that made this olfactory boundary profoundly moving. Joy, enthusiasm, dynamism, abundance, and expansive energy overtook my body as the salesperson, kindly but visibly confused by the gestural evidence of my body transported to a cold morning with a backpack full of new notebooks and an untouched box of crayons, offered to help me choose which shoes I would exchange my money for. I could say that this olfactory boundary was the most mundane and pleasurable of them all.

In the mall, there is a roundabout dedicated to prestige and luxury, home to stores like Saint Laurent, Tiffany’s, Gucci, and Louis Vuitton. I had never entered any of these stores before. From a distance, it was clear that only a few items were displayed on shelves made of stunning marble, with veins of gray and magenta, quite unusual. I was convinced they were made of plastic, and it seemed like the perfect excuse to step inside this store, despite feeling intimidated by its luxury and exclusivity.

When I walked in, the employee asked if I needed anything, and I said, "I need to know if this stone is real." I approached the stone to feel its temperature. It was cold, so it couldn’t be plastic. I touched it as one would touch a door; it wasn’t hollow, it was solid. The employee confirmed it was real and, moreover, that it came from Italy. Was this finally something real, aside from the sneakers at Browns Shoes in this mall? I mean, was that striking object, which had captivated me and allowed me to enjoy the sensory experience of having it in front of me, truly a stone that had been taken from a faraway mountain and brought to this store? It still feels strange to think it’s true, because it must have cost a fortune to transport that marble from Italy to Canada, but being such a luxurious store, I imagine they can afford that luxury.

I was left speechless by the exquisiteness of everything in the store. It’s a clothing store, but all I saw were tables, chairs, display cases, shelves, rugs, vases, napkins. Everything was exquisitely beautiful. And the smell? A very particular scent that I already knew. A smell I could relate to something in my life, much like the experience with the sneakers. It was a scent with history, taking me to mud, sweat, and manure. Something was being overlooked because these sensations were in stark contrast to the grace and elegance of everything in the store. Distrusting my instincts, I decided to return to my systematic interviews and asked the employees if they used any perfume in the store. They confirmed they didn’t. So I felt compelled to ask what that scent I was perceiving was. The immediate response was a shake of the head, signaling "no," while they insisted there was no special smell in the air. But it didn’t take long for the saleslady to gesture a "eureka" moment and explain that the latest collection was made of genuine leather, no plastic.

Then I scanned the place to confirm that everything I could perceive was real: the leather, the stone, the wood. I concluded that, today, or at least in this mall, in order to experience the pleasure of feeling something real, and not the simulation or the deception, you have to pay thousands and thousands of dollars. To experience the most basic pleasures again— smelling real flowers, touching real trees, looking at the open sky without a metal grid in the way—we either pay thousands of dollars, or we don’t go to the mall.

Bibliography

Howes, D., & Classen, C. (2014). Ways of Sensing. In: Ways of sensing: understanding the senses in society. Routledge.