Objects and products creating the atmosphere of anticipation of New Year and Christmas: the semiotics of festive expectation

Introduction: Atmosphere as a multisensory code

The sense of approaching the holiday is formed not only by the calendar date, but also by a complex of objects, scents, flavors, and sounds that act as its cultural markers. These elements work as triggers of collective memory and emotions, creating a psychological transition from everyday life to the "holiday chronotope." From the perspective of cognitive psychology, they trigger autobiographical memories and conditioned reflexes associated with the anticipation of miracles, gifts, and family unity.

1. Olfactory markers: scents as a time machine

Scents are the most direct route to the limbic system of the brain, responsible for emotions and memory.

• Conifer and citrus. The scent of pine or spruce is the dominant aroma of winter holidays in temperate latitudes. An interesting fact: terpene (the main component of coniferous aroma) in aromatherapy research is associated with a decrease in anxiety levels. In the UK in the 18th-19th centuries, before the spread of Christmas trees, houses were decorated with holly and ivy branches, and the main festive scent was the aroma of mulled wine (with wine, cloves, and oranges), warming in a damp climate.

• Spices. Cinnamon, cloves, ginger, nutmeg, and cardamom are the "warm" part of the palette. Their scent, especially in combination with baked goods, evokes a sense of comfort and abundance. Historically, these spices were exotic and expensive goods, their use in Christmas baking (German lebkuchen, English mince pies) symbolized special generosity and connection with distant countries.

• Vanilla and almond. These sweet, "baking" aromas are strongly associated with the preparation of festive desserts. The scent of almond, for example, is the key note of the classic Christmas stollen.

2. Visual symbols: light in the darkness

During the winter solstice, light symbols have a deep archaic meaning of victory over darkness.

• Lights. Blinking garlands on the Christmas tree, in windows, on the streets. Their flickering creates an effect of a magical, altered reality. The prototype were real candles on Christmas trees, which was a risky and therefore especially festive practice.

• Shiny decorations. Glass balls, tinsel ("rain"), foil. Their function is to reflect and multiply the scarce winter light, creating an illusion of brilliance and luxury. The first glass Christmas balls appeared in Saxony in the 16th century as a substitute for apples — a symbol of fertility.

• Color palette. The classic combination of red, green, and gold. Green is the color of life and evergreen trees. Red is the color of holly berries, hearts, Santa Claus' cloak, and vitality. Gold is the color of the sun, light, and wealth. In the Orthodox tradition, silver is added as a symbol of purity and snow.

3. Gastronomic attributes: the taste of the holiday

Products that appear only during the pre-holiday period create a special sense of "time for tea."

• Oranges. In the USSR, this citrus became the main New Year's scarce fruit, whose aroma was associated exclusively with the holiday. Its appearance in stores was a clear signal: New Year is close.

• Gingerbread and gingerbread houses. Their preparation and decoration are a whole ritual of anticipation. In Scandinavian countries, the scent of gingerbread begins to circulate in houses several weeks before Christmas.

• Calico and kutya (sourdough). On the pre-Christmas eve in Slavic traditions, the scent of post-fast pies — calico or kutya (sourdough) — brings to mind the approaching great holiday.

• Advent calendars with chocolate. A modern Western attribute, stretching the anticipation to December. Each opened window with a small chocolate is a materialized countdown to Christmas.

4. Tactile and auditory components

• The rustling of wrapping paper, the rustling of tinsel, the crunch of pine needles underfoot. These tactile-auditory sensations are associated with the process of decorating, wrapping gifts — the active phase of creating the holiday.

• Special music. The sound of bells, certain song tracks (from Tchaikovsky's "The Nutcracker" to Wham!'s "Last Christmas"). They form the sound landscape of the holiday, which begins to be broadcast in stores and on the radio long before the date.

5. Ritual objects of anticipation

• Advent wreath. A Lutheran tradition that has spread around the world. Four candles, lit one at a time in each of the four Sundays before Christmas, visualize the countdown.

• Letter to Santa Claus (Father Christmas). The process of writing it is an act of formulating desires and hopes, the materialization of faith in miracles.

• Calendar battlers. In Russia in the 1990-2000s, the anticipation of New Year for children was associated with watching daily episodes of the cult film "Irony of Fate, or With a Light Heart!" which was shown throughout December.

Conclusion: The synthesis of signals as a mechanism for constructing the holiday

Objects and products heralding New Year and Christmas work as a single semiotic system. They address all sensory organs, creating an involuntary immersion in a special emotional state. Their power lies in their repetitiveness from year to year, turning them into stable anchors of identity and tradition. In a rapidly changing world, it is precisely this complex of familiar scents, flavors, and visual images that allows one to recreate and experience anew the "same" feeling of childhood anticipation, connecting personal memories with the millennial cultural code of the winter holiday of renewal and light.

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