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The road to learning “who am I” is digitized: A study on consumer self‐
discovery through augmented reality tools
Article in Journal of Consumer Behaviour · June 2023 DOI: 10.1002/cb.2185
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 Received: 30 July 2022 Revised: 14 March 2023 Accepted: 1 May 2023 DOI: 10.1002/cb.2185
RESEARCH ARTICLE
The road to learning “who am I” is digitized: A study
on consumer self-discovery through augmented reality tools
   Anupama Ambika1 | Russell Belk2 1Institute of Management Technology,
Dubai, UAE
2Schulich School of Business, York University, Toronto, Canada
3MICA, Ahmedabad, India
Correspondence
Varsha Jain, MICA, Ahmedabad, India. Email: <PRESIDIO_ANONYMIZED_EMAIL_ADDRESS>
| Varsha Jain3
| Rajneesh Krishna3
  Abstract
Today, digital tools offer multiple avenues for consumers to learn about themselves. Self-discovery or knowing “who am I” is fundamental to our everyday experience. However, there is a paucity of research that investigates the “how and why” of self- discovery, made possible by technological advancements. Adopting the theoretical tenets of extended self, possible selves, storied selves, and the twin metaphors of self and identity, we follow a multimethod qualitative approach to explore consumer self- discovery in the context of AR-based makeup and grooming apps and filters. We establish a framework for AR-facilitated self-discovery by analyzing the data obtained via Netnography and 22 in-depth interviews. The findings suggest that digital tools enable the discovery of previously unknown facets of the consumers' self-concept. Theoretically, this study demystifies the process of technology-enabled self-discov- ery, which is related to better life decisions and consumer well-being. Brands may apply these insights to inculcate the discovery components into the AR design, which can facilitate the adoption of new products. Finally, this study highlights the possible challenges to be avoided to ensure consumer well-being while using AR-enabled digi- tal tools.
1 | INTRODUCTION
The popular book, Eat pray love: One woman's search for everything (Gilbert, 2007) chronicles the author's journey of self-discovery while engaging with people and places that expand her perspectives. While not everyone may undertake such arduous routes to understanding themselves, self-discovery is fundamental to everyday living (Wu et al., 2011). People learn about themselves through consumption, choices, relationships, achievements, and setbacks. Each input to their self-knowledge brings people closer to articulating who they are at different stages of life (Waterman, 1984). Further, the proliferation of the digital landscape has engendered a profusion of tools for the introspective expedition of an individual's self-discovery (Belk, 2014; Turkle, 1999). Nevertheless, there have been limited endeavors to empirically understand the “how and why” of technology-enabled self-discovery. Even though scholars have studied the digital area to establish that “we are what we post” (Schau & Gilly, 2003, p. 162), we are what we present (Zhao, 2005), we are what we can access
(Belk, 2014), and we are multiple narrative digital selves (Jain et al. 2021), the scope of explorations have been limited to the expression/construction of self. According to the psychological con- cepts of self, such as the twin metaphors of self and identity (Waterman, 1984), consumers may construct or discover new ele- ments about themselves through their online experiences. While con- sumer self-discovery has been investigated in non-digital experiential contexts such as travel narratives (Laing & Frost, 2017) and photogra- phy (Hanai et al., 2018), the ubiquitous role of technology in self- discovery remains under-explored. Self-discovery is an important area to be explored, as knowing oneself is crucial to well-being (Laing & Frost, 2017) and can aid consumers in making better life decisions. Hence, this study extends past research and explores how we can dis- cover ourselves from our digital activities in the context of highly immersive, augmented reality-based virtual try-on applications and filters.
Augmented reality (AR) is gaining greater significance among the rapidly expanding digital armors of self-expression. AR allows
 J Consumer Behav. 2023;1–16. wileyonlinelibrary.com/journal/cb © 2023 John Wiley & Sons Ltd. 1

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consumers to overlay virtual content over live images and create alter- nate forms of reality. Brands have adopted augmented reality market- ing (ARM) tactics by integrating AR into varied touchpoints across customer journeys for unique experiences (Chylinski et al., 2020). Fur- ther, marketers have been harnessing AR's “discovery” potential through virtual try-on apps and standalone systems. Consumers digi- tally try out products (apparel, jewelry, makeup, and others) and evalu- ate their suitability before purchasing. For instance, the famous cosmetics brand Sephora has a virtual makeup try-on app where con- sumers can experiment with different types and shades of cosmetics and choose the best option. AR and other immersive technologies, such as virtual reality (VR), will be vital for the success of the upcom- ing technology worlds such as Metaverse. These possibilities have increased demand for AR, and the future revenue prediction is pegged at $26 billion in the next 3 years (Statista, 2021).
However, the varied facets of AR experiences and the corre- sponding influences on consumers are yet to be explored completely (Chylinski et al., 2020; TechTarget, 2021). Industry analysts have opined that brands have been unable to optimally harness AR's consumer-oriented experiential benefits (TechTarget, 2021). Chylinski et al. (2020) highlight the need for more research to develop compre- hensive knowledge about how AR influences consumers. Hence, this research focuses on an essential aspect of AR experiences, consumer self-discovery. To this end, this study adopts a qualitative approach involving netnography and in-depth interviews for data collection. The findings suggest that AR facilitates more experimentation, where con- sumers use technology to create and experiment with and through mul- tiple selves. Though AR majorly alters appearances, this study identified that consumers co-create these appearances that reflect their aspira- tions, fears, memories, ideas, dreams, and imaginations, which could be manifested in any other online/offline platforms, owing to real and imagined boundaries. Consumers accept/reject some of these images into their extended selves, which lead to learning new facets about themselves. Theoretically, this study explains technology-enabled self- discovery and elaborates how the concept of extended self can explain the phenomenon of self-discovery, in addition to demystifying the self- construction process elaborated by the past research (Belk, 2014; Jain et al., 2021). Practically, brands can apply the findings of this study to ensure that self-discovery possibilities are built into the design of AR apps to aid customers in making consumption choices that fit with their genuine interests. Further, marketers can harness the opportunities of AR to break consumption-related stereotypes. However, our findings also highlight the possibility of unattainable appearance-related goals, which can be detrimental to consumer well-being. The remainder of the paper describes the theoretical foundations, methodology, findings, implications, and the future research areas.
2 | THEORY AND LITERATURE
This section focuses on past studies on the technology's influence on consumer behavior through the lens of theories and models related to the consumers' self-concept.
2.1 | Self and technology
A person's self-concept (hereafter referred to as self) includes their views and perceptions about themselves (James, 1890). Self is a dynamic and multifaceted concept that varies during a person's life based on their social context and experiences (Bartoli et al., 2022). Scholars have elaborated that the consumers' self-concept influences their buying behaviors and decisions. (Belk, 1988, 2013). The seminal paper on the extended self (Belk, 1988) explained that possessions, places, people, experiences, and ideas that define individuals consti- tute the extended self. Consumers may either adopt the identity of an item or impose their own identity onto the object. Further, Belk (2013) revived the notion of the extended self in the context of fast technological breakthroughs by describing five changes: demateriali- zation (non-physical nature), re-embodiment (different modes of digi- tal self-presentation), sharing, co-construction (role of technology and peers), and memory dispersion to the digital archives.
Several researchers have explored the role of the extended self in the consumers' digital lives. Doster (2013) emphasized how young consumers adopt deliberate self-presentation tactics and use color, design, and symbolism to create sophisticated, ornate, and ornamental aesthetic-self versions of themselves. Costa Pinto et al. (2015) devel- oped an online identity framework merging the dimensions of self- extension and self-aggregation. Similarly, researchers have found that consumers develop relationships and psychological ownership with their online pictures, selfies, social media posts, and other digital arti- facts (Belk, 2018; Schau & Gilly, 2003). According to Messinger et al. (2018), online avatars are identical to users' actual selves with more appealing embellishments. The avatars further influence online behav- ioral characteristics.
Additionally, scholars have explored the selves that consumers create in the online space. Jain et al. (2021) established the incidence of multiple online narrative selves, where each self is intentionally cre- ated for specific audiences. Here, consumers are seen to weave stories and narratives to make sense of their identity, signified by nar- rative or storied selves (Jain et al., 2021; McAdams, 1996). Next, consumers are known to create an array of virtual selves comprising positive and negative aspects in the online space (Jin, 2012) based on the concept of possible selves (Markus & Nurius, 1986). Possible selves represent our anxieties, desires, and expectations about whom we will become in the future and are part of the self-concept that can influence behaviors Markus and Nurius (1986). Song et al. (2013) experimentally proved that consumers shown the ill effects of smoking through their future self-avatar condition developed a higher risk perception related to smoking than those exposed to non-self-avatars. According to Tobias (2018), virtual gaming pro- vides opportunities for consumers to express representations of potential selves by enacting specific roles. Lin and Wang (2014) ascertained that avatar creation is a premeditated possible self- motivated by a specific end goal of consumers. However, as new technology avenues open up, consumers identify new ways to express themselves. While various digital tools enable diverse expe- riences, immersive tools such as AR stand out with unique
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experiences, where consumers develop multiple versions of them- selves (augmented selves) by merging reality and virtuality.
Javornik et al. (2021, p.328) indicated that the formation of an augmented self represents “a change in consumers' self-concept when faced with the hybrid representation of a virtual overlay on their physical self.” Past research explains that the augmented self pro- foundly influences the consumers' self-concept (Javornik et al., 2021; Scholz & Duffy, 2018). In contrast to the popular studies on the posi- tive versions of AR, Ahmed et al. (2023) found that AR may also lead to the feeling of inauthenticity, owing to the lack of factors such as multisensory experiences, human connections and associated trust, inclusivity (many apps cater to Western skin tones and styles), tech- nology fineness to mimic the experience. Thus as seen from the past review of the literature on technology and self-concept, all the studies focus on technology-enabled self-construction.
2.1.1 | Research gap
Our detailed review of past literature indicates that prior research has relied on varied theoretical foundations of self-concept to explain how consumers use technology as a resource to construct self- concept through self-expression and presentation in online spaces. However, according to Waterman's (1984) twin metaphors of self and identity, people may construct or discover new elements about themselves through their experiences. More than two decades ago, Turkle (1999, p. 644) hinted at ‘some sense of the possibilities for self-discovery.’ But efforts to explore the possibilities Turkle (1999) envisioned are yet to emerge. Though the authors acknowledge that there have been attempts to explore the process of self-discovery through experiential activities (e.g., Hanai et al., 2018; Laing & Frost, 2017), the technology-specific aspects are largely unexplored. Wu et al. (2011) established the role of self–discovery in consump- tion, where self-discovery represented the self-knowledge developed by answering standard questionnaires (e.g., personality-type question- naires). However, consumers may not always accept such self- knowledge from external sources (Wu et al., 2011). The present study focuses on a different aspect of self-discovery through which con- sumers self-learn previously unknown facets of their self-concept through experimentation and exploration (Waterman, 1984).
2.2 | Methodology
The study aimed to understand how technology facilitates self- discovery in AR-based virtual try-on applications. The research pro- vides a deeper understanding of consumer experiences with AR aug- mentation and the corresponding influence on their beliefs and perceptions. Hence a qualitative design with two studies was applied to address the exploratory research objectives (Thanh & Kirova, 2018). This study adopted methods including Netnography (to understand the consumers' AR augmentation experiences) and in- depth interviews (to examine how the experiences influence the
consumers' beliefs and perceptions). Kozinets (2002, 2020) recom- mended that researchers may apply other methods to elaborate and triangulate the netnographic findings. Hence, the studies were carried out sequentially, where netnography was followed by interviews based on the guidance from past studies (e.g., Gambetti et al., 2020; Leclercq et al., 2017). The initial insights from the netnographic study provided inputs toward developing the interview guide. At the same time, the in-depth interviews enabled triangulation of the netno- graphic findings and facilitated a detailed comprehension of the con- sumers' perspectives. The use of multiple techniques enabled data triangulation, helped us to capitalize on the advantages of these numerous methods, and improved the trustworthiness of the findings (Guba, 1981).
2.2.1 | Study 1: Netnography
Netnography refers to analytical, ethical, and representational research techniques that leverage consumers' expressions and discus- sions in digital spaces to develop deeper behavioral insights (Kozinets, 2015). Netnography was adopted in this study due to the proven usefulness of this technique in identifying rich experiential attributes (Izogo & Jayawardena, 2018).
2.3 | Context and information sources
Cosmetic/grooming try-on apps and social media with filters were chosen as the study context. Self-discovery entails much experimen- tation and self-exploration (Roberts, 2017). AR facilitates experimen- tation and exploration through mobile applications, social media filters, and website add-on features. Immersive tools such as AR have been found to enhance hedonic purchase experiences (Watson et al., 2020). Moreover, AR industry adoption and usage studies pub- lished during the initial conceptualization stage of this research (e.g., Cook et al., 2020) indicated that the cosmetics and grooming business had seen the highest levels of success and growth using AR try-on applications and social media filters. Additionally, consumers try cosmetic filters and apps and post them on social media. Thus con- sidering the self-discovery potential of AR and social media platforms, we conducted the exploratory study in these contexts.
Next, four popular cosmetics and grooming apps (integrated with social media) were chosen (Perfect365, Youcam Makeup (now part of Perfect365), Yuface Makeup, and Artistry Virtual Beauty) based on their ranking among the top downloaded apps by the leading app intelligence website, App Annie (now acquired by data.ai) on January 1, 2020. Finally, we analyzed the possible sites for data collection. We finalized on Instagram and the App review pages (Google and Apple) based on the guidelines from Kozinets (2002), such as (1) availability of relevant textual content to meet the research objectives, (2) accessi- bility to content, (3) frequent discussions among users, and (4) relevant (English) language usage. Next, we proceeded to data collection through netnography and interviews.
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2.4 | Data collection
Following the suggestions from the experts, this study adopted a combination of investigative and immersive methods to compre- hend the consumers' experiences (Kozinets, 2019). Investigative procedures involve collecting online consumer data for various purposes (e.g., reviews), and immersive research necessitates researcher engagement with chosen online spaces for data collec- tion through situational observations and experiences. Investiga- tive data was collected from 2018 to 2020. The year 2018 was selected as a starting date as it forms an essential milestone for AR due to the growth and popularity of mobile AR (MobiDev., 2018). We finalized 329 review comments for analysis based on estab- lished guidelines (Singh, 2019; Thanh & Kirova, 2018), such as (1) Close to 50 words or more and (2) relevance to the topic, that is, AR experiences.
The immersive data collection methods entailed 12 months of observation (June 2020 to May 2021) of consumer posts and discus- sions within Instagram and the AR community. The Instagram posts were identified based on hashtags (Kozinets, 2020) that indicated the use of specific AR apps (e.g., #artistryapp, #artistryvirtualbeauty, #perfect365, #perfect365app, #youcam, #youcammakeup, #Yuface, #youfaceapp) shortlisted based on the information available through the official Instagram pages of apps. The data collected within the AR community (https://www.youcamapps.com/) was conducted by observing the daily posts and discussions. The researchers daily recorded reflective and observational field notes. Finally, 117 posts were selected for analysis based on content suitability, as detailed earlier.
The researchers also conducted chat-based discussions with some Instagram users to understand their AR usage and social media posts with augmented pictures. Netnography facilitated an understanding of how consumers learn about themselves through augmentation experiences. Consumers' online pictures and discus- sions pointed toward the self-discovery potential of AR, where consumers experimented and created newer self-images. How- ever, the online data was insufficient to facilitate an in-depth understanding of the process and nuances of self-discovery. More- over, the anonymous nature of comments on review pages and communities limited our knowledge about the users. As qualitative approaches aim to describe and comprehend the phenomenon, it may be necessary to employ multiple techniques to consider all possibilities (Miles et al., 2014). Hence, to understand the influ- ence of the augmentation experience and the discovery process in detail, we adopted in-depth interviews.
2.4.1 | Study 2—In-depth interviews
This study adopted a semi-structured interview format to generate more profound insights into the augmentation experiences and the corresponding influence on consumers.
T A B L E 1 Interview participants' profiles—demographic.
18–25 5 4 2
30–35
2.5 |
1 2
Interview participants
Recent studies indicate that Generation X, Generation Y, and Genera- tion Z customers are more likely to accept and use AR tools (Deloitte, 2021; Weaver, 2022). However, Generation Z consumers form a major user group in the context of AR apps and filters, fol- lowed by Gen Y (Culliney, 2021; Ivona, 2022). Hence the participants from this age group were selected based on their interest in makeup and grooming practices (cosmetics, hair styles/color, eye lenses, etc.) and AR usage (apps/filters, and social media) following purposive sam- pling. While close to 50% of the participants were selected based on social media accounts (inputs from Netnography), the rest were selected based on a participant recruitment request floated on social media. This selection process was followed because the study aimed at exploring the experiences of participants with varying usage of cos- metics (occasional to heavy) and AR (new to experienced) to get a holistic view based on the practice followed by the past studies (e.g., Scholz & Duffy, 2018). Tables 1 and 2 outline the participant profiles.
2.6 | Data collection
The overall understanding derived from Netnography guided the interview protocol development aimed at driving conversations about AR, augmentation, and related experiences. The interview protocol included: questions about the participants' perspectives on cosmetics usage, grooming and use of technology, the influence of technology on their grooming practices, opinions about the augmentation pro- cess, and the augmented self, feelings, and perceptions associated with the co-creation of augmented selves, and corresponding influ- ences on their consumption patterns. We conducted 22 interviews until theoretical saturation was attained. Interviews were conducted in online mode, English language, and had an average duration of 1.5 h. All the interviews were recorded (with consent) and transcribed (673 pages). Further, the data were integrated and analyzed to gener- ate key insights.
2.7 | Data analysis
The data was integrated following “building” and “merging” approaches per the guidelines from Fetters et al. (2013). Initially, the insights from netnography facilitated the design and guided the in-
   Age and profession Students Employed Home makers
 25–30 2 5 1
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AMBIKA ET AL.
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T A B L E 2
study).
Apps
Interview participants' profiles—lifestyle (relevant to this
The duration of each stage of the process was contingent on the par- ticipants' interests, technological savviness, imaginative capabilities, and other individual factors. The subsequent subsections provide a comprehensive explication of the results.
3.1 | Stage 1: AR as a space for hedonic engagement
The first stage represents the initial engagement levels of users with AR tools. Our insights from the study suggest that consumers expressed fun and enjoyment as the primary expectations from their initial AR usage. Most episodes narrated by the participants who have recently adopted the AR mirrors included anecdotes about sheer fun and enjoyment.
Ashi, a 28-year-old IT professional, explained,
So... actually... I first noticed someone using this App on the Metro [train] like a month back. Later, on that same day, I guess, I downloaded and tried it out. And yeah, it was so much fun. I saved some funky images, which looked so cute in some pics. And later, I showed it to my family while we were chit-chatting at night and everyone wanted to try it. So for the next few hours, we were all engrossed in it because it was so exciting and fun. (Interviews)
Google app review comments from the users indicate the levels of fun and excitement.
I love all the options, and it is so much fun. I down- loaded it a few days back, and it's one of my favorite apps. Rock on, you guys! I LOVE this App!!! All stars to you – Customer Review. (Netnography)
Most review comments and interviews indicate that new con- sumers engage with apps and social media filters for fun and enjoy- ment. They sometimes treat it like a game without the pressure of winning or achieving a goal. So AR becomes a form of hedonic engagement, as it is “primarily motivated by the enjoyment of the activity itself, rather than by some external motive” (Oh & Pham, 2021, p. 232). The findings resonate with the findings from Scholz and Duffy (2018) on the hedonic user environment enabled by immersive tools. However, after they become familiar with the crea- tive potential of AR, consumers devote more time and energy to per- sonalize their experiences for self-expression.
3.2 | Stage 2: AR as a medium for liberatory self-expression
As consumers explore the affordances of AR, they identify the poten- tial of technology to facilitate self-expression. Self-expression
<month
1–6 months 1
>6 months 2
Both
<month 2
1–6 months >6 months
1 11 4 31
1
Note: Occasional make-up user—Uses 1–3 products regularly. May use more products sporadically/specific occasions. Regular—3-6 products regularly. 5+ products on occasions. Heavy—6+ products regularly.
depth interviews. However, finally, to meet the research objectives, the data were merged for the final analysis.
The key objective of this study is to extend our understanding of technology-enabled self-discovery, building on the existing theoretical foundations. Hence we followed an abductive approach to “give voice to the data” along with “structure and theoretical relevance” (Linneberg & Korsgaard, 2019, p. 264). A codebook was developed, and the data were manually coded using the Nvivo software. The ini- tial coding cycle focused on data-centric codes and categories (defa- miliarizing), whereas the succeeding cycle created theory-centric codes to form higher levels of abstraction (revisiting). Finally, code equations (alternative casing) were developed using inductive and deductive codes to generate insights (Tavory & Timmermans, 2014). Table 3 outlines the sample codes. The insights enabled an under- standing of how technology allows consumer self-discovery. More details on the methodology have been updated under Appendix A.
3 | FINDINGS
According to the findings of this study1 and study2, consumer inter- action with the AR tools traverses through four inter-connected stages, resulting in self-discovery: (1) AR as a space for hedonic engagement, (2) AR as a medium for liberatory self-expression, (3) AR as an enabler for the co-creation of augmented selves, and (4) AR as a facilitator for self-discovery. Figure 1 represents the key stages. The present study's findings suggest that all participants initially interacted with the application for their entertainment. As they continued to engage with the application, they proceeded to an experimental stage, where they attempted to express themselves without restrictions or inhibitions. Eventually, they began to create diverse selves and found an augmented self that aligned with their beliefs about themselves.
   AR (down) and makeup Minimal or
(right) usage pattern occasional Regular Heavy
 Filters
<month 1–6 months >6 months
1 1
1
2
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6 AMBIKA ET AL.
   Quote Contexts Codes Categorization Theory Code equations
 We had too much fun, no doubt. Its most me and Divs
[friend]. Then I saw these preset filters like to symbolize something... say black lives matter, those insta/Snapchat
filters. Easy to say what you want to say, you know, who
reads all paragraphs. Most of my classmates used some
rainbow theme filters for LGBTQ support during that
pride day in June. I used pride theme makeup filters and
used as DP for Whatsapp, Snap, Insta.
Second level
Symbolize black lives matter, filters, LGBTQ, support, rainbow theme
Ideology
Self-expression
Second-level usage = self- expression—ideology
  This app is like a part of life. Nothing escapes its eyes you
know. I feel like an intuitive person when I use the App; it
was like, I tried to see many ways of being myself, a little
different from what I do in real life. I did not know there
were so many ways of being myself. Now that you ask, I
find it funny, like in an actual store, I would have been like
blue lens and me, no way. However, with the App, I was
like, why not blue, why not green? Even pink was not
taboo, haha. The way I imagine myself will never be the
same. Some of these new styles also let me stay the way I
am, in newer ways.
Third level
Part of life, intuitive, many
ways of being myself, little different, so many ways,
being myself, imagine
myself, will never be the
same, not taboo, newer
ways, stay the way I am.
Experimenting to identify new facets
Self-discovery
Third-level usage – self- discovery—new facets of self-concept
TABLE 3 Samplecodingtable.
So... actually... I first noticed someone using this the App on the Metro [train], like a month back. Later, on that same day, I guess, I downloaded and tried it out. And yeah, it was so much fun. I saved some funky images, which looked so cute in some pics. And later, I showed it to my family while we were chit-chatting at night and everyone wanted to try it. So for the next few hours, all of us were into it, all engrossed because it was so exciting and fun.
[Using AR enables tools for 2 years] So recently, I was
playing this game homescapes, and the AR app reminds
me of that. In homescapes, you try to do things as you
want. You have the choice of selecting the furniture. You
decide what compliments the color of your wall and
which colors look good together. It was like I was doing it
for myself so that I would be the only judge. I will decide
if I want to look funky, mismatched, or anything else.
Initial engagement
Fun, funky images, cute, family, exciting
Fun and enjoyment
Hedonic engagement
Initial usage = hedonic engagement
Second level
To do things as you want, homescapes, play, game, choice, selecting, decide, myself, judge, colors, look good together, I will decide, look funky, mismatched
Freedom to do as per individual wish
Self-expression (boundaryless)
Second-level usage = self- expression—ideology
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AMBIKA ET AL.
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FIGURE 1 AR-facilitatedself- discovery. Source: Developed by authors.
indicates the consumers' utilization of market resources (e.g., brands) to epitomize the intangible components of their identity (Schau, 2000). Self-expression is always bound by social/religious/ cultural norms or limitations of the offline/online avenues (Tshivhase, 2015). The AR tools transform into a medium of liberatory self- expression for the consumers across two realms: liberation from ste- reotypical boundaries (e.g., consumers experiment with different styles without worrying about stereotypes) and liberation from resource constraints (e.g., lack of grooming materials/skills).
3.2.1 | Liberation from stereotypes
Numerous theorists view the body as a fundamental site for defining and redefining self and identity (e.g., Belk, 1988; Thompson & Hirschman, 1995). The body, which becomes a visual metaphor of self-representation, is structured in alignment with societal, moral, or cultural norms and is subjective as well as influenced by the judg- ments of others (Entwistle, 2001). As Belk (2016, p. 431) explains regarding contemporary digital media, “Others' comments, tweets, retweets, and other input into our self-presentation mean that they can help shape our self-image and self-concept.” AR tools, mostly accessed via mobile phones from the comfort of personal spaces, pre- sent an opportunity for consumers to digitally experience their inner thoughts, feelings, desires, aspirations, and imagination about self- outside of the others' judgments.
Nikita, a 26-year-old doctoral scholar, compares AR mirrors to pretend play games,
So recently, I was playing this game Homescapes, and the AR app reminds me of that. In homescapes, you try
to do things as you want. You have the choice of selecting the furniture. You decide what compliments the color of your wall and which colors look good together. It was like I was doing it for myself so that I would be the only judge. I will decide if I want to look funky or mismatched or anything else. (Interviews)
The freedom of self-expression encourages consumers to experiment with a range of styles. For instance, Avishi, a 24-year-old advertising professional, explained how AR-enabled her to try products and colors she had earlier shunned due to the media creating mental barriers or stereotypes.
So for me, my idea of a colored lens for eyes... was fixed, like the blue color would only suit a person who is fair.... like very fair already...not like the normal fair which is common in India.
So how did you get this thought that blue is for very fair people?
The blue-eyed princesses from the Western fairy tales may be.... ha. Also, in movies, see Aishwarya Rai, [An Indian actress] she is very fair, and the blue con- tacts suit her so well don't remember seeing someone like Rani Mukherjee [an Indian actress with wheatish complexion] with blue eyes, right?
But when I tried that blue lens in the App, I found that I looked quite nice... like dreamy-eyed and all that; I never imagined that before. I am planning to try it. (Interviews)
Anvi's experience indicates how media-influenced “consumption stereotypes” lead to product avoidance. So, in agreement with self-
   AR as a space for hedonic engagement
 AR as a medium for liberatory self-expression
  Possible selves
Storied selves
AR as an enabler for the co-creaon of augmented selves
Temporal selves
   Agency: Consumer Vs Technology
Possible selves
Storied selves
 Stereotypes: Disappearing Vs Emerging
 Temporal selves
Extended self and the zone of ‘self-discovery’
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concept and image congruency theory (Grubb & Grathwohl, 1967), consumers avoided products that they believed to be incongruent with their self-image, owing to the stereotypes induced by culture, society, and media. However, AR tools facilitate self-viewing through the impartial eyes of technology (Bosker, 2017), presenting a liberat- ing opportunity to experience the products digitally. Additionally, AR mirrors serve as a liberatory medium to overcome resource barriers to self-expression, as detailed in the next section.
3.2.2 | Liberation from resource barriers to self- expression
The fundamental purpose of cosmetics-led grooming is to reconcile inner and exterior attractiveness, leading to higher levels of self- confidence (McCabe et al., 2020). However, grooming involves time, effort, appropriate supplies, and skills. The outcomes of this research explain how various consumers overcome the barriers to grooming through AR mirrors. The below excerpts from the user reviews describe how AR digitally eradicates the resource barriers wrt time, effort, skills, and products (financial).
Love this App!!! Often I am out with my horses and do not have time or the ability to wear makeup around barn chores. I take selfies with the horses and use this to help make me not look like a barn zombie! – Customer Review (Source: Netnography)
I don't wear makeup, and I don't know about wearing makeup. This App makes me look like a pro makeup artist. The foundation feature in this App makes my skin look amazing in a non-fake way! Very impressive, and I am looking forward to using it more!– Customer Review ( Netnography)
These consumers are now coming to terms with digital makeup being a part of their lives. They seem to overcome resource con- straints by melding virtuality into their real lives. Consumers experi- ence the freedom of self-exploration without restrictions, so they try to co-create varied versions of themselves as AR-enabled augmented selves.
3.3 | Stage 3: AR as an enabler for the co-creation of augmented selves
As users engage with AR mirrors, they continuously co-create their aug- mented selves by navigating the technology's capabilities, self-imagination, and inventiveness. The co-creation process, powered by the unbounded self-exploratory possibilities, enables consumers to embody their ambi- tions, imaginations, experiences, fantasies, philosophies, temperament, and temporal dispositions digitally through future-oriented possible selves (Markus & Nurius, 1986), narrative-focused storied selves (McAdams, 1996), and time- based temporal selves (Wilson & Ross, 2000).
3.3.1 | Possible selves
Consumers digitally create their aspirations and fears as augmented selves and constitute a digital peek into “what we could become, what we would like to become, and, most crucially, what we are terrified of becoming” (Markus & Nurius, 1986, p. 954). Reviews like the one below with high ratings indicate the consumers' satisfaction with viewing a multitude of possible selves.
Simply the best! I've worked extensively with every makeup App available, and this one is, without ques- tion, the absolute best! So many options that you can feasibly create millions of different looks! One of its most ingenious aspects is the ability to save your favorites. Making Perfect 365, second to none! – Cus- tomer Review (Netnography)
Similarly, Figure 2 (Instagram post) reflects his aspirations to attain a particular style and personality. Figure 3 (Instagram post) displays a con- sumer's possible self through different eye makeup and hair colors.
3.3.2 | Storied selves
The augmented selves can also be narrative-centered storied selves (McAdams, 1996). However, unlike the possible selves, storied selves are developed to present a cohesive form of “who I am” (ideology, mood, etc.) to others. Moreover, storied selves may not represent a possibility that can be adapted or avoided in real-life scenarios (like possible selves). For example, an angry consumer may apply a demonic filter (like Dracula) but not intend to use it in real life. Instead, they represent some aspects of the consumers' self-concept/mood. Storied selves express “who am I now” through beliefs, moods, ideologies, celebrations, and others. For instance, Figure 4 (Instagram post) displays how a consumer used a rain- bow make AR filter to express solidarity with the pride community.
3.3.3 | Temporal selves
We observed that many consumers assumed a time-travel mindset using AR. They often recreate their former selves and try to view the digital versions of their planned future selves. Temporal augmented selves allow the customer to remember the past and visualize their planned future (not just a possible future). For instance, while this possible self may be just one of the many possibilities the user may or may not achieve the temporal self is a pre-planned self, which the consumer re-creates digitally before the real-life event.
Marina, a 22-year-old student, shares her temporal experience:
I am the person who needs to get everything ready in order and in advance. I... can't do last-minute stuff. However, still, I get paranoid, thinking, what if some- thing does not work out? For my bro's wedding, I had
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F I G U R E 2
Possible self (aspirations). Source: Instagram
F I G U R E 3
Multiple personal selves. Source: Instagram.
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FIGURE 4 Storiedself. Source:Instagram.
everything planned ... dress, makeup, hair. So what I did I checked out all the stuff in the Apps and used multiple. So now I have an idea of how it will be, which makes me comfortable. (Interviews)
Thus, these insights indicate that consumers relive their fond memo- ries and imagine their future (planned) consumption scenarios through these temporal selves. However, the multiple selves do not just mean an external appearance but the consumers' aspirations, ideas, fears, stories, and so on. Thus, multiple augmented selves are created as possible, sto- ried, and temporal selves. There might be overlaps between possible, temporal, and storied selves, but they do not represent the same con- cept. Possible selves represent positive and negative future probabilities; the storied self symbolizes components of the present self-concept, while the temporal self signifies the time to travel to an experienced past or a planned future. However, only a select few of these augmented selves will be embraced by consumers as a part of their extended selves, while the rest gets discarded. However, not all users create similar selves. Creating augmented selves depends on the users' contexts, imagination, aspirations, and interests. As represented by stage 3 in the figure, there might be overlaps among the different types of augmented selves.
The following section elaborates on the AR-facilitated self- discovery journey through the theoretical lens of the extended self (Belk, 1988, 2013).
3.4 | Stage 4: AR as a facilitator of self-discovery through extended self
The extended self-concept posits that some possessions/ideas/expe- riences and others may stretch our identity outside our body and
intellect (Belk, 1988). With the technology revolution, many more avenues and affordances exist to express the one's identity through digital artifacts (Belk, 2013). As they evaluate their augmented selves, some may get rejected as they fail to reflect the consumer's desired self-image, while others become a part of the extended self. The aug- mented selves include the possible selves, temporal selves, and sto- ried selves, enabling consumer self-discovery, as highlighted in stage 4 of Figure 1.
A 27-year-old researcher Aisha shared her experience illuminating this attrition of possible selves.
So what happens is I try different available colors, like so many lip colors and eye shadow palettes available. Some of them, like some dark pink shades for lips and eyes, felt more like my thing. Some looked too funny also.
So what did you do with those images which you liked? Well, one of them immediately became my WhatsApp profile pic and got compliments (Blushing). Few I have saved will use it some time, post for an occasion ... yeah, and as my reference while shopping. (Interview)
Further, as Belk (1988) suggested regarding the grief associated with losing extended-self possessions, many consumers expressed disappointment and gloom when they lost the AR images due to tech- nical glitches. For instance, an excerpt from the online review reflects the distressed state of consumers due to the loss of the augmented self-image.
Heartbroken. I was in love with this App. It was every- thing I could have asked for, but unfortunately, I cannot
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find my fav looks anymore due to it glitching out before it even loads. – Customer Review (Netnography)
Thus, consumers could generally accept or avoid the augmented selves depending on how well the images represented components of their self-concept. The images successfully cathected as a part of the extended self was saved/shared and cherished, while others were discarded.
However, the acceptance or rejection of the augmented self-led consumers on a path of self-discovery. The self-discovery is not lim- ited to external appearance but includes a previously unknown aspect of self. They identified new ways to express or not express them- selves beyond previously held beliefs and stereotypes.
Avishi, a 24-year-old management student, explained,
I feel like an intuitive person when I use the App; it was like, I tried to see many ways of being myself, a little dif- ferent from what I do in real life. I did not know there were so many ways of being myself. Now that you ask, I find it funny, like in an actual store, I would have been like blue lens and me, no way. However, with the App, I was like, why not blue, why not green? Even pink was not taboo, haha. The way I imagine myself will never be the same. Some of these new styles also let me stay the way I am, in newer ways. (Interviews)
Hence, it is evident that exploring the augmented selves through AR tools enables consumers to identify new facets of self. These experiences align with Waterman's (1984) self-discovery metaphor. Thus, consumers expand their innate sense of self by discovering new aspects of their identity, leveraging their creativity, imagination, and technology. Here consumers learn about themselves while exploring AR tools, experimenting with varied selves, and having fun. The dis- covery concept presumes the presence of self-components waiting to be found (Berzonsky, 1986; Waterman, 1984, 2011). However, as elaborated below, AR-facilitated self-discovery is influenced by sev- eral contradicting factors, including agency and stereotypes.
3.5 | Paradoxical influences on Consumers' self-discovery: Agency and stereotypes
3.5.1 | Agency of consumer vs. agency of technology
In the domain of self-expression, early work has underlined the cen- trality of consumer agency (Bhattacherjee et al., 2014). In this study, agency relates to how consumers feel that augmented self-images can be built around their choices and freedom, aided by technology. How- ever, ongoing tensions exist between consumer and technology agen- cies throughout the augmentation process, as seen in the assertions below. Some of the app users' comments on the Google/Apple app review pages and online forums stated:
I loved this App for helping touch up. However, beware, a face-slimming feature was automatically set on. I had already had the App for a while, and I didn't know about it. You can turn it off if you spend some time on it, which I did, but I had no idea my face was being altered. – Customer Review (Netnography).
Multiple interview participants indicated that they did not appre- ciate the App deciding on automatic alterations based on preset beauty standards, which ultimately affects the process of self- discovery.
3.5.2 | Disappearing stereotypes vs. emerging stereotypes
AR mirrors, as previously discussed, allow women to experience beauty in ways that transcend traditional stereotypes. So this can be compared to the body positivity movements on social media, which challenge con- ventional appearance stereotypes and develop acceptance and respect for all bodies (Cohen et al., 2021). Nevertheless, the use of AR mirrors also leads to the development of new stereotypes for consumers.
As elaborated by Ashi, a 28-year-old IT professional,
The App makes us all look pretty, no doubt. But again, me looking as pretty and stylish as in the app picture in real life, not sure how possible it is ... right. The light- ing, the photo effects, and the way makeup has been applied all matter. Don't you think this can be problem- atic for some? The flip side may be more applicable for younger women and teenagers. Like my college-going cousins feel let down by the actual photo sometimes and think they should be looking like what these filters tell them. (Interviews)
So as is evident from Ashi's reflections, new personalized typecasts are being established by technology. In such instances, self- discovery may accompany unrealistic expectations, jeopardizing con- sumer well-being, similar to the idealized body images promoted by social media (Cohen et al., 2021). Thus, immersive technologies such as AR can facilitate self-discovery, where consumers have the free- dom to create multiple selves and evaluate and identify what can gen- uinely represent them (which they cathect into their extended self). The following section discusses our key findings.
4 | DISCUSSION
Humans possess an inbuilt urge to know themselves better and learn about themselves actively and passively in their everyday lives (Wu et al., 2011). Several scholars have elaborated on how the digital world and technological affordances have led to the construction of a person's self-concept (Belk, 2013, 2016; Jain et al., 2021;
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Turkle, 1999). There exists a gap in understanding how digital tools help consumers understand the varied facets of their self-concept, resulting in self-discovery. Examining the domain of self-discovery is paramount, as comprehending oneself more profoundly is critical to achieving mental and emotional wellness (Laing & Frost, 2017) and can facilitate consumers in arriving at better consumption (Wu et al., 2011). As digital tools have become an integral part of the con- sumers' everyday lives, an in-depth understanding of technology- enabled self-discovery will help brands enable consumers to make the right consumption choices, leading to a win-win situation for both. This study covers the gap by exploring how technology-enabled self- expression facilitates the discovery of previously unknown facets of self.
In the context of AR, the journey to self-discovery begins at the level of immersive hedonic engagement. Here, we see individualized, idiosyncratic usage of technology appropriation. However, irrespec- tive of the usage status, the expressed motive beneath the use is hedonic engagement proposed by Oh and Pham (2021). Further, the fun and enjoyment are preceded by a consumer-led personalization stage, where each user appropriates AR applications for free self- exploration and self-expression.
In line with the earlier studies (Schau & Gilly, 2003), which exam- ined how consumers transform digital affordances into personal expressions, we found that AR enables consumers to express them- selves. However, extending the previous work, we detail processes of challenging the stereotypes and cultural/social norms constraining self-expression. Belk (2014, p. 372) observed that online expressions enable users “to be freed from the prior constraints of our physical bodies and societal prejudices due to gender, race, age, class and physical impairments.” However, augmented selves distinguish them- selves from online expressions via avatars. They may be adopted in real-world circumstances, allowing a person to transcend mental bar- riers and preconceptions in the physical world. Thus, technology fil- ters mitigate other filters (e.g., cultural) to some extent by enabling liberatory self-expression. Liberatory self-expression coheres with Scholz and Duffy (2018), who observed that consumers experiment with AR mirrors in comfortable, informal, and relaxing environments.
Next, self-exploration freedom encourages consumers to create multiple versions of themselves, entailing their aspirations, narratives, fears, and imaginations. However, only a small number of these aug- mented selves may be approved by the consumer as a viable repre- sentation of themselves and become part of their extended self. Both approval/disapprovals facilitate self-discovery, leading to the con- sumer identification of their true interests. The theoretical foundation of extended self has been associated with self-construction (Belk, 1988, 2013) in online and offline spaces. However, borrowing Waterman's (1984) self-discovery metaphor, we extend the theo- retical tenets of extended self to the consumers' journey of self- discovery. Self-discovery here differs from the socially situated self- discovery (Dholakia et al., 2004; Lee et al., 2015) or the active self- discovery that consumers seek through tools, questionnaires, or experts (Wu et al., 2011). Instead, consumers develop innate knowl- edge about themselves through AR tools, potentially leading to
liberatory self-expression and experimentation by co-creating them- selves via technology. Next, with specific reference to the context of AR makeup mirrors, we observed that in contradiction to Rook's (1985) findings on grooming toward the creation of an ideal self, which with virtual grooming/digital makeup helps consumers to con- nect with what they perceive as their true inner selves.
Finally, we also discuss the paradoxical influences of agency and stereotypes on self-discovery. Consumers desire the freedom to develop augmented selves based on imagination. However, the tech- nology also exerts some authority by automatically modifying the con- sumer images, leading to a conflict between the consumer's agency and the App. Thus, even when consumers realize their agency in AR mirrors, they will always be constrained by technology design. Control is disguised as an option because the activities are pre-programmed into the AR system, even though it may seem otherwise (Savat, 2009).
Further, the second conflicting dimension explains how AR gives rise to new stereotypes, even while it helps consumers overcome societal and cultural stereotypes. Recently, American celebrity Selena Gomez expressed concern that while “beauty” AR filters turned her brown eyes to blue shades, the funny filters left them as they were (Nast, 2020). So technology leads to the development of new images of ideal selves, which may not be attainable, harming their overall well-being. Thus, consumer self-augmentation experiences may be transformed into what is perceived as a journey of self-discovery. This study presents important implications for theory and practice, as detailed below.
5 | IMPLICATIONS
This study presents vital implications for theory and practice.
5.1 | Theoretical implications
The insights from this study lead to three important implications for theory.
Firstly, we theorize that technology-facilitated self-exploration leads to the process of self-discovery. Understanding this technology- facilitated self-discovery contributed to three main areas (1) consumer behavior, (2) consumer well-being, and (3) the study of immersive technology experiences. As elaborated in the findings section, the self-exploration represents the consumers' fears, aspirations, ideas, imaginations, and other elements they never had a platform/freedom to experience (e.g., a bold self, a sexy self, and so on). In doing so, we enrich the existing consumer behavior studies (e.g., Jain et al., 2021; Schau & Gilly, 2003; Zhao, 2005), establishing that consumers utilize digital consumption to strengthen their self-concept (Belk, 2014; Turkle, 1999). While scholars have previously focused on the con- struction and expression of self-concept (Belk, 2014; Schau & Gilly, 2003; Zhao, 2005), this study explains the role of algorithmic technology in shaping the consumers' journeys toward supposedly discovering and knowing themselves. For instance, past studies
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detailed that individuals utilize digital platforms, such as social media, to showcase their desired self-image or aspirations, such as becoming a nerdy techie or an influential socialite. However, our research reveals that consumers may discover previously unknown facets of their self-concept. For instance, the previously identified nerdy techie may discover their potential to be a trendy fashionista by experiment- ing with their augmented selves.
The earlier discussions of self-discovery revolved around life expe- riences, social contexts based on learning of self, and active seeking about self through personality questionnaires or similar tools (e.g., Kim et al., 2016). This study is one of the first to theorize the process of technology-facilitated self-discovery, beginning with hedonic engage- ment. Self-discovery is known to help individuals to be themselves and adopt self-satisfying conduct toward well-being (Kunchamboo et al., 2017). Hence, this study contributes to consumer well-being liter- ature and the facilitating role of technology. We also elaborate on the key factors that may aid in discovering the one's “actual self” and what factors work against this discovery process. Finally, the concept of self- discovery, supported by Waterman's (1984) twin metaphors of self and identity, contributes to immersive technology studies and AR marketing by suggesting that a “true self” can be unearthed or revealed. Along with Belk (2013), we do not believe that there is an actual or true self, but when the discovered self-aligns with current expectations and aspi- rations, this is likely to resonate as the“true self.”
Secondly, we extend the application of the extended self-concept by detailing its role in self-discovery. The extended self has been widely adopted for exploring and explaining the construction of the self in online and offline spaces (e.g., Costa Pinto et al., 2015; Jain et al., 2021). Nevertheless, earlier studies have not applied the extended self-concept to self-discovery. This study is the first attempt to establish that the extended self can provide a strong foundation to understand consumer self-construction and self-discovery, as Waterman (1984) elaborated as the dual paths toward identity construction. For instance, Jain et al. (2021) applied the concept of extended self to elaborate on how con- sumers express multiple facets of their selves by constructing varied pro- files on different social media platforms, depending on the objective and intended audience. Hence, a person's LinkedIn profile will starkly con- trast with their Instagram profile. However, this study applied the same theoretical foundations supported by the twin metaphors of self and identity to indicate how technology facilitates the discovery of some of these facets, which the consumer can further express to the world.
Thirdly, we elaborate on the importance of self-expression in consumer self-discovery. The role of consumption in self-expression has been widely discussed and acknowledged. Thompson and Hirschman (1995, p. 151) state, “Consumption produces the desired self through the images and styles conveyed through one's posses- sions.” Early digital consumption studies have focused on the con- sumers' self-expression via online self-presentation (Schau & Gilly, 2003). Here, we bring a new theoretical focus to self- expression by detailing the role of self-discovery. In the context of this study, AR facilitated self-discovery by enabling consumers to develop their augmented selves and freely express themselves with- out inhibitions.
5.2 | Implications to practice
Two important implications for practice emerge from this research. First, we elaborate on the role of self-discovery in influencing con- sumer choices. Our study reveals that marketers may boost customer engagement and interest in new products by facilitating self-discovery through immersive digital mediums like AR. However, consistent with the findings from Ahmed et al. (2023), if the consumers do not per- ceive the augmented self to be authentic owing to technical failures or lack of inclusion (e.g., lack of digital options for consumers with all kinds of complexions and facial features), then brands will not be able to harness the potential of AR.
Secondly, the findings suggest that marketers of such apps have a vital role in breaking consumption-related stereotypes. Brands should realize that, as industry standards recommend, perfect beauty may not be the preferred option for all consumers. Platforms for liberatory and non-judgmental self-expression may enable consumers to choose the right products, leading to higher satisfaction and perceived value (Trivedi et al., 2022). Such personalized self-discovery may deepen the customer experience and engagement. Also, specific to the con- text of this study (makeup and grooming), brands may use the key insights to explore the possibilities of digital makeup (how it can be offered as a digital product). However, marketers should also be mind- ful of self-discovery outcomes, as they can lead to unexpected influ- ences on consumer choices (like abandoning a frequently purchased product or switching to a new product that is not popularly available).
6 | CONCLUSIONS, LIMITATIONS, AND FUTURE RESEARCH DIRECTIONS
The journey toward self-discovery can guide individuals to new perspec- tives about life and greater levels of contentment (Prabhupada., 2011). Self-discovery is attained by peeking instead into the one's mental pro- cesses and technologies, such as the AR-provided opportunities to digitally express their inner thoughts and imagination (Carter & Pritchard, 2018). The key insights from this study indicate that through immersive technolo- gies such as AR, brands can be part of this self-discovery.
However, this study has focused on a small context of AR- enabled self-augmentation experiences in cosmetics, as the technol- ogy was nascent during the study's conceptualization. Therefore, the future researchers can focus on wider contexts and different types of augmentation experiences (augmentation of surroundings, objects) to identify newer aspects of consumer experiences and develop holistic frameworks. Our research also indicates that the level of customer agency vs. the agency of technology and the conflict between emerg- ing vs. disappearing stereotypes all affect the process of self-discov- ery. Future studies can identify more factors that can aid/promote consumer self-discovery.
Additionally, this study is interpretive, focusing on identifying technology-enabled self-discovery. Future researchers can focus on quantitatively testing AR tools' key aspects and influence on self- discovery through experiments, longitudinal studies, and
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neuromarketing techniques. Further observational approaches like ethnography can bring more insights relevant to the industry and academia.
Finally, the insights from this study indicate that AR leads consumers to discover new aspects of themselves along with brands/products that may suit them better. However, the scope of the study excludes actual purchase behavior. Future studies need to ascertain if self-discovery leads to new product pur- chases and what factors may promote or deter the adoption of new products.
ACKNOWLEDGMENTS
We are incredibly grateful to the editors, associate editors, and anony- mous reviewers of the journal of consumer behavior who have helped and supported us in escalating the quality of the manuscript. The con- structive feedback was constructive and beneficial.
CONFLICT OF INTEREST STATEMENT
There is no conflict of interest.
DATA AVAILABILITY STATEMENT
The data that support the findings of this study are available on request from the corresponding author. The data are not publicly available due to privacy or ethical restrictions.
ORCID
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How to cite this article: Ambika, A., Belk, R., Jain, V., & Krishna, R. (2023). The road to learning “who am I” is digitized: A study on consumer self-discovery through augmented reality tools. Journal of Consumer Behaviour, 1–16. https://doi. org/10.1002/cb.2185
of Retailing and Consumer Services, 44, 11–23.
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16 AMBIKA ET AL.
APPENDIX A: METHODOLOGY DETAILS
Netnography data collection sites
• YouCam Community https://www.youcamapps.com/,
• Instagram, and
• App review pages—https://play.google.com/, https://apps.apple.
com/.
Overview of in-depth interview
Pre-Tasks for interview participants
• Try 2 of the shortlisted apps for a week,
• Share 8–12 pictures that describe how they felt about (1) The
experience and (2) Their Image on the app.
Areas of interview discussions—detailed
• cosmetics usage, grooming, and makeup practices: Experience, per- spectives, and meanings associated;
• purchase process—Actual practices, challenges;
• experience with AR usage: first-time usage, subsequent uses,
changes in usage patterns;
• perspectives and meanings associated with augmented self-
images; and
• possible changes in purchase and usage of cosmetics due to AR
app and augmented self.
AUTHOR BIOGRAPHIES
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     leading technology and consulting organizations such as IBM and Capgemini.
Russell Belk is a Royal Society of Canada Fellow, York University Distinguished Research Professor, and Kraft Foods Canada Chair in Marketing in the Schulich School of Business, York University. His research involves the extended self, meanings of possessions, collecting, gift-giving, situational effects, sharing, digital consump- tion, consumer robotics, and materialism. It is primarily qualitative and often conceptual, visual, and cultural. He is the past president and fellow of the Association for Consumer Research and has over 750 publications, including more than 30 in the Journal of Consumer Research.
Varsha Jain is an AGK chair professor of marketing and co- chairperson of research at the MICA, India. She is an associate editor at the Journal of Consumer Behavior, an editorial board member at the Journal of Advertising Research and Journal of Busi- ness Research, and co-track chairperson of advertising at the Acad- emy of marketing science annual conference in 2023. She has authored over 100+ publications, including papers in A* and A journals. Prof. Jain has received more than 24 national and inter- national awards and gold medals in scholarship. In her research career, she is visiting guest at Emory Business School, Atlanta, USA, visiting scholar at the Greenwich University, London, and The Medill School, Northwestern University, USA.
Rajneesh Krishna is the Registrar, Associate Dean, and Professor of Digital Platform and Strategies & Strategic Marketing at MICA, Ahmedabad, India. Armed with a Ph.D. from IIT Bombay, Dr. Krishna has held various research, teaching, and institution- building roles at MICA. He has worked on multiple marketing research projects focusing on understanding consumer psychol- ogy, connecting culture and consumption, and transforming the understanding into a viable marketing strategy. Prof. Krishna has published in various refereed journals and has also written a book on Consumer Behavior, which the Oxford University Press published.
    Anupama Ambika is a Lecturer in Marketing at IMT Dubai. Her research interests are at the intersection of marketing, consumer behavior, and technology. She has published her research in mar- keting journals such as the European Journal of Marketing, Journal of Consumer Behavior, Service Management, Journal of Business Research, Australasian Marketing Journal and Journal of Advertising Research. She has over 12 years of industry experience with
 14791838, 0, Downloaded from https://onlinelibrary.wiley.com/doi/10.1002/cb.2185 by Mudra Institute Of Communications Ahmedabad (MICA), Wiley Online Library on [06/06/2023]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License