Lawyers express their opinions mainly by writing. In particular, legal scholars are obliged to write scholarly papers and publish them. A good lawyer also includes being a good writer. However, it is not easy for young lawyers or law students to write a good, scholarly paper. To be a good writer, they should possess discipline. Nonetheless, there are a few practical guidelines for young lawyers or law students to refer to when they begin writing scholarly articles. The primary purpose of this research is to present the core guidelines of scholarly legal writing-what to consider and what to avoid - for beginners; following the author’s experience of editing globally recognized journals in international law as well as writing and publishing scholarly papers at leading academic law magazines in the world. This research paper contains the meaning of good scholarly legal paper, topic and title, research methodology, writing, referencing, research ethics and publication.

포스트 코로나 시대 전통적 정형화된 업무는 지능화된 기계와 온라인 플랫폼 등 디지털 기술에 의해 대체되고, 디지털 전환 기술과 고숙련 근로자 및 비정형 업무 간 강한 상호 보완관계를 바탕으로 고용 없는 경기회복이 전개될 가능성이 크다. 특히, 우리나라 산업 내 직무 구성을 살펴보면, 반복업무 지수가 지속적으로 상승하는 추세다. 이는 포스트 코로나 시대 디지털 전환의 가속화에 따른 노동시장에 대한 부작용 및 파급효과가 우리나라 경제체제 내 고착화될 가능성이 큼을 시사한다. 이러한 배경 하, 본 연구에서는 우리 경제사회 시스템의 구조적 변화를 일으킬 디지털 전환의 내재적 속성에 대한 심층적 이해를 바탕으로, 잠재적 위기 극복 및 문제해결을 위한 개념적 틀을 제공하고자 한다. 특히, 포스트 코로나 시대 디지털 기술발전과 학습 간 상호작용에 주목하여, 혁신체제의 구조적 전환을 통한 새로운 균형점으로의 이행을 위한 혁신정책의 역할을 재정립하고자 한다. 이와 함께, 포스트 코로나 시대 우리나라 혁신체제가 미래 환경 변화에 능동적으로 대응할 수 있는 적절한 제도적 요소들로 구성되어 있는지 살펴보고, 포스트 코로나 시대 디지털 전환이라는 기술변화 흐름에 능동적으로 대응할 수 있는 미래지향적 혁신정책 수립 방향을 제시하고자 한다.

Digital video advertising is an emerging creative format increasingly prevalent online. To attract audiences, creative strategies often employ narrative storytelling techniques that transport the viewer into an entertaining cognitive and affective experience. This study explores key engagement characteristics of creative executions across categorical digital video advertising formats.

The purpose of this study was to explore if, what kinds of, how much computational thinking (CT after this) practices could be included in STEAM programs, and what kinds of CT practices could be improved to make STEAM revitalized. The CT analyzing tool with operational definitions and its examples in science education was modified and employed for 5 science-focused and 5 engineering-focused STEAM programs. There was no discerning pattern of CT practices uses between science and engineering STEAM programs but CT practices were displayed depending on their topics. The patterns of CT practices uses from each STEAM program could be used to describe what CT practices were more explored, weakly exposed, or missing. On the basis of these prescription of CT practices from each STEAM program, the researchers could develop the weakly exposed or missing CT practices to be improved for the rich experience in CT practices during STEAM programs.

고도의 경제성장을 이루고 있는 현대 사회에 다양한 미술사 조가 계속 나타나고, 전통문화와 사회현실과의 갈등, 고대 문명과 외래문화의 충돌은 끊임없이 일어나고 있다. 이런 상황에서 새로운 그림의 형태도 파생되고 있다. 각종 회화의 새로운 도구, 신소재, 새로운 관념, 그리고 다른 예술 형식의 도입과 벤 치마킹으로 인해, 공필 화조화는 예술적 특징, 형식 언어, 미학적 스타일이 다원화하는 구조를 보이고 있다. 본 논문은 당대의 공필 화조화의 창작 제재, 전통 선묘 혁신, 디자인 색채의 응용, 새로운 구도의 추구, 그리고 아름다운 예술적 경지에 대한 추구 등 방면에서 당대의 공필 화조화 소재와 표현의 다양한 측면을 자세히 묘사하였다. 그러므로 본 연구에서는 공필 화조화의 회화 형식을 풍부하게 하고 당대의 공필 화조화의 혁신을 넓히기를 바란다.

In the era of the 4th industrial revolution, creativity plays a pivotal role in the competitiveness of a country. The importance of creativity education therefore cannot be overemphasized. The purpose of this study is to examine the effects of discussion-based English reading and writing activities on Korean high school students' creativity, English writing, and self-assessed creative thinking. The participants were 45 high school students in Seoul, Korea. They were divided into two groups: the discussion-based English reading and writing group (n=24) and the traditional English instruction group (n=21). The experiment was administered during two semesters of the 2017 academic year. The major findings are as follows: First, the experimental group showed significant improvement on the creativity test, especially in the areas of fluency, flexibility, and original thinking. Second, the experimental group outperformed the control group on the writing test. Third, the experimental group showed positive changes in their self-assessed flexible thinking, convergent thinking, and intrinsic motivation. All of these indicate the beneficial effects of the discussion-based English reading and writing activities. Based on the results, some pedagogical suggestions were made for the effective integration of creativity education into the teaching of English as a foreign language.

급격한 환경적 변화에 적응하지 못하는 조직은 생존하기 어렵다. 그에 따라 조직의 성공 및 번영을 위 해 구성원들의 도전적, 창조적 개선 및 혁신 행동의 중요성이 점차 부각되고 있다. 이런 이유로 다양한 요인들이 구성원의 재량적 행동인 창의성 및 발언의 독립변수로 제시되어 왔다. 본 연구는 이론 및 실무적인 중요성 및 변수간 관계의 밀접성에도 불구하고 선행연구에서 제한된 관심을 받아 온,상사의 창의성 독려를 선택하여 구성원의 창의성 및 발언에 미치는 영향을 살펴보았다. 이 과정에서 기대이론을 활용하여 상사의 창의성 독려가 창의성 및 발언에 대한 성공 기대, 재량적 행동 관련 보상에 대한 기대를 높일 수 있을 것이라고 보고 이를 실증하고자 하였다. 또한 상사의 창의성 독려가 구성원의 창의성 및 발언을 높이는 이유가 무엇보다도 구성원의 창의적 과정에의 참여 정도를 높이기 때문이라고 보고, 이를 통한 간접효과를 확인하고자 하였다. 육군 간부 181쌍을 대상으로 설문조사를 실시하여 분석한 결과, 상사의 창의성 독려는 구성원의 창의성을 높이는 것으로 나타났으며, 촉진적 및 예방적 발언 또한 높인다는 것을 알 수 있었다. 특히 이 과정에서 창의적 자기효능감을 통제하여, 창의성 및 발언에 미치는 상사 창의성 독려의 증분 효과를 확인하였다. 또한 부트스트래핑에 의한 간접효과 검증을 실시한 결과, 상사의 창의성 독려는 구성원의 창의적 과정 참여에 정적 영향을 미치고, 이는 다시 구성원의 창의성 및 발언에 영향을 미친다는 것을 알아냈다. 본 연구는 조직 경쟁우위의 원천인 구성원의 창의성 및 발언을 촉진하는데 무엇 보다도 상사의 창의성 독려가 필요하다는 것을 제시하였다. 이는 기존 연구들에서 구성원 재량적 행동에 영향을 미치는 개인, 집단, 조직 수준의 다양한 변수들에 부가하여 재량적 또는 자발적 행동의 중요성을 강조하고 독려하는 상사의 구체적 행동이 실질적으로 중요하다는 시사점을 주는 것이다. 아울러 본 연구는 창의적 과정 참여를 택해 상사 창의성 독려의 영향력 과정에 대한 이해를 높였으며, 현장에 상사의 창의성 독려 행동의 필요성에 대한 논리적 근거를 제시하였다. 특히 본 연구는 선행연구들과는 달리 기대 이론으로 변수들 간 관계를 설명함으로써 현상에 대한 새로운 관점을 소개하는 함의를 가지고 있다. 마지막으로 연구의 말미에 한계 및 향후 연구방향을 제안하였다.

본 연구의 목적은 코칭리더십이 조직구성원들의 혁신행동에 미치는 영향을 알아보고, 그 과정에서 긍정피드백과 창의적 자기효능감의 다중 매개효과를 실증적으로 검증하고자 하였다. 이를 위해 국내 기업의 다양한 업종의 구성원 중 총 396명에게 설문하여 345명으로부터 자료를 수집하였고, SPSS 25.0, AMOS 25.0를 사용하여 설문의 타당도를 Process Macro 3.0을 사용하여 가설을 검증하였다. 연구결과, 리더의 코칭리더십은 긍정피드백, 창의적 자기효능감, 혁신행동에 정(+)의 영향을 미치는 것으로 나타났다. 특히 긍정피드백은 창의적 자기효능감에 정(+)의 영향을 미치며, 리더의 코칭리더십과 혁신행동의 관계에서 정(+)의 매개효과를 보였다. 창의적 자기효능감은 코칭리더십과 혁신행동 사이에서 정(+)의 매개효과를 보였고, 긍정피드백과 창의적 자기효능감은 코칭리더십과 혁신행동 간의 다중매개효과를 갖는 것으로 나타났다. 이러한 연구결과의 시사점은 첫째, 수평조직구조에서 주목받고 있는 코칭리더십이 긍정피드백과 창의적 자기효능감을 통해 조직 구성원의 혁신행동을 향상시킨다는 것이다. 둘째, 조직의 성과 창출을 위해서는 조직 구성원의 혁신행동이 필요한 바, 이를 위해 리더의 코칭리더십을 향상시킬 수 있는 다양한 방안으로 모색하고 적용해야 한다는 실무적 시사점을 제시하였다.

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang’s sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled “Green mountain is like what I’ve meant”, “To Byeokgyesoo in Cheongsan-ri” and “Dongjibam ginaginbam”. In brief, Jin-Yi Hwang expressed her “everlasting love and emptiness”, “temptative conciliation” and “eager waiting” these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang’s sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang’s expressed emotions.

본 연구는 A4용지 규격의 종이 도안에 플랫포머 게임의 콘텐츠를 작성하고, 작성된 게임 콘텐츠를 모바일 기기의 카메라를 통해 인식하여 디지털로 변환하여 게임을 즐길 수 있는 시스템을 구현하였다. 종이도안을 활용한 게임 콘텐츠는 실제 종이에 필기구를 이용하여 직접 게임 오브젝트를 그려 넣는 방식을 사용한다. 오브젝트 디자인의 편의성을 높이기 위하여 핵심 게임 오브젝트의 패턴화하였고 의미가 있는 패턴들을 조합하여 새로운 조합 패턴의 생성할 수 있도록 하였다. 또한 한 장의 종이 위에 그릴 수 있는 게임 화면의 크기가 제한적인 점을 보완하기 위하여, 제작한 게임 화면을 조합하여 게임의 여러 스테이지를 구성할 수 있는 기능을 추가하였다. 종이 도안에 그려지는 게임의 오브젝트 이외의 게임 구성 요소들은 시스템 내부에서 추가할 수 있도록 하여 자유도 높은 콘텐츠 창작 제공하고 있다. 종이 도안을 통해 반복적으로 게임 콘텐츠를 제작하고 이를 디지털로 변환하는 과정을 보완하기 위하여 시스템 내부에서도 게임 콘텐츠를 제작하고 수정하는 것이 가능하도록 하였다. 본 연구에서 제안하는 서비스모델은 아동에게 다소 어려울 수 있는 게임창작 과정을 언플러그드 활동과 연동하여 손쉽게 디지털 게임 콘텐츠 창작의 경험을 제공하는 것이다. 이를 통해 아동을 대상으로 한 전통적인 방식의 언플러그드 활동을 디지털 활동과 연동하여 창작 활동에 대한 동기를 부여하고, 디지털 시대에 발맞춘 소프트웨어 리터러시를 함양할 수 있을 것이다.

A teaching manual was developed to incorporate the creative problem solving process into a fashion marking course. Students’ creativity, problem solving, critical thinking, and analytical thinking are promoted by applying the creative problem solving process systematically to solve authentic business problems experienced by local apparel business owners. This teaching manual is based on the FourSight Model that consists of Clarify, Ideate, Develop, and Implement. Various tools promoting divergent thinking are also utilized in the process. A local fashion business is invited as a problem owner and four resource groups are formed with students based on the results of the Kirton Adaption Innovation Inventory. Each resource group consists of 6-8 students. The creative problem solving process is implemented into a classroom setting as four 75-minutes sessions that are held twice a week for two consecutive weeks. The local fashion business owner will be in presence during the first (Clarify) and last (Implement) sessions. The instructor facilitator meets with the problem owner outside the classroom three times including pre-session client interview, after the second (Ideate) session, and before the third (Develop) session. This modified CPS manual for fashion marketing and merchandising courses provides practical guidelines to work with local fashion businesses while providing students with learning opportunities of the creative problem solving process.

본 연구는 R&D인력이 경험하는 경력정체를 구조적 정체와 직무내용 정체로 구분하여 조직몰입과 관계를 규명하면서, 추가적으로 개인의 연령 및 창의적 행동특성이 경력정체와 조직몰입의 관계에 미치는 조절효과를 분석하는데 초점을 두고 있다. 국내 정부출연 연구기관에 근무하는 418명의 R&D 인력을 대상으로 실증 분석한 결과, 첫째 구조적 정체와 조직몰입의 관계는 연령에 따라서 차이를 보인다. 즉, 주니어 R&D인력일수록 구조적 정체가 조직몰입을 감소시키는 효과가 강하게 나타났다. 둘째 직무내용 정체는 조직몰입에 부정적인 영향을 미치며 개인의 창의적 행동특성에 따라서 차이를 보인다. 즉, 창의적 행동특성이 강한 R&D인력의 경우에 직무내용 정체와 조직몰입의 부정적 관계가 더욱 강하게 나타났다. 이러한 분석결과를 바탕으로 R&D인력의 경력정체 이슈에 관한 이론적인 함의 및 실무적 시사점에 대해 논의하였으며, 끝으로 연구의 한계점 및 향후 연구방향을 제시하였다.

최근 경쟁력 있는 창작 뮤지컬들이 제작됨에 따라 우리 뮤지컬 시장에서도 창작 뮤지컬의 비중이 커지면서 자연히 뮤지컬과 관련한 법적 분쟁도 그 양상이 달라지고 있다. 과거에는 외국의 뮤지컬을 국내로 들여오는 과정에서의 라이센스 계약을 둘러싼 분쟁이 주로 문제되었다면, 최근에는 창작 뮤지컬의 제작 과정에서 발생하는 분쟁들이 수면 위로 떠오르고 있다. 이러한 국내 뮤지컬 창작 활동을 장려하기 위하여 뮤지컬의 창작에 기여한 자들의 권리를 보호할 필요성은 점차 커지고 있다. 대본, 음악, 가사, 무대장치, 조명, 의상, 분장 등 개별 저작물 및 구성부분들이 종합되는 뮤지컬 제작과정에서 가장 명확히 드러나는 저작권자는 극작가, 작곡가, 작사가이다. 이들은 저작권법상 저작권자로 보호받음이 분명한 반면, 연출가, 무대 디자이너, 조명 디자이너, 의상 디자이너들은 저작인접권자로 보호받거나 아예 보호를 받지 못하는 경우가 허다하다. 특히 텍스트를 음악과 결합시키고 이를 최초로 형상화하여 무대로 올리는 창작 뮤지컬의 경우에는 여러 구성부분들 간의 조화 및 종합이 중요하기 때문에 극작가, 작곡가, 작사가 외에도 연출가를 저작권법으로 보호할 충분한 가치가 있다 할 것이다. 그런 점에서 우리 법원이 뮤지컬을 구성하고 있는 일부 저작물이 분리이용 가능하다는 점에서 뮤지컬을 일률적으로 결합저작물로 판단하고 연출가의 저작권을 부정하는 것은 바람직하지 않다고 본다. 창작 뮤지컬에 있어서 연출가는 각 구성부분을 유기적으로 종합하여 연결함으로써 하나의 작품을 완성시키는 중요한 역할을 담당하는바, 극작가, 작곡가, 작사가와 더불어 창작 뮤지컬의 공동 저작권자로 봄이 상당하다.

만명시기 대표적 문학이론가인 원굉도는 예술성 높은 유기산문을 많이 창작하였다. 그의 문학작품 창작론의 주요 방법은 ‘직기(直寄)’와 ‘신기(新奇)’의 창작이론이다. 그는 직기와 신기의 창작기교를 잘 활용하여 좋은 작품을 많이 창작하였다. 직기의 창작기교는 주로 자연경관의 묘사와 인물이나 사물의 형상표현 또는 사람의 감정 표현 등에 활용하고 있다. 그리고 자연경관을 서술한 부분을 보면 직기는 물론 신기의 창작기교를 활용하여 생동감 있는 표현을 하고 있다. 직기의 창작기교는 주로 직유의 수사기교를 사용해 표현되고 있고, 신기의 창작기교는 직유 은유 의인 등의 다양한 수사기교를 사용해 표현되고 있다. 원굉도 유기산문의 자연경관 표현에 보이는 신기의 창작방법에 바탕 하여 활용되어진 직유 은유 의인 등의 주요 수사기교를 살펴보면 원굉도 유기산문의 예술적 수준을 잘 알 수 있다.

The purpose of this study was to explore the nine components of computational thinking (CT) practices and their operational definitions from the view of science education and to develop a CT practice framework that is going to be used as a planning and assessing tool for CT practice, as it is required for students to equip with in order to become creative problem solvers in 21st century. We employed this framework into the earlier developed STEAM programs to see how it was valid and reliable. We first reviewed theoretical articles about CT from computer science and technology education field. We then proposed 9 components of CT as defined in technology education but modified operational definitions in each component from the perspective of science education. This preliminary CTPF (computational thinking practice framework) from the viewpoint of science education consisting of 9 components including data collection, data analysis, data representation, decomposing, abstraction, algorithm and procedures, automation, simulation, and parallelization. We discussed each component with operational definition to check if those components were useful in and applicable for science programs. We employed this CTPF into two different topics of STEAM programs to see if those components were observable with operational definitions. The profile of CT components within the selected STEAM programs for this study showed one sequential spectrum covering from data collection to simulation as the grade level went higher. The first three data related CT components were dominating at elementary level, all components of CT except parallelization were found at middle school level, and finally more frequencies in every component of CT except parallelization were also found at high school level than middle school level. On the basis of the result of CT usage in STEAM programs, we included ‘generalization’ in CTPF of science education instead of ‘parallelization’ which was not found. The implication about teacher education was made based on the CTPF in terms of science education.

Cultural tourism has always been recognized as the heart of the new tourism trend, and Chinese culture has received increasing attention worldwide. Cultural tourism to China delivers the values of traditional Chinese culture and provides a satisfying authentic experience for tourists. Experience is an emotional reflection of tourists’ true feelings and evaluations during the tourism process and encompasses more than the delivery of a physical product or service. Experience involves creating unique memories of destinations and is inimitable of the individual sensitivity for special events. While these creative experiences have received increasing attention from marketing scholars and various industry practitioners in general product domains, the creative experience factors of tourism systems remain unexplored. Furthermore, although the matter of experience affects tourists’ behaviors and attitudes, little is known regarding how Chinese culture affects tourists’ creative experiences, destination attachments and memories. The effects of cultural contacts and creative experiences on destination attachment and roles of satisfaction and attitudes should be considered with respect to the development of cultural and creative tourism. This study proposes cultural contact as an important enabler of destination attachment. Moreover, we examine both how and when culture contacts enhance tourists’ destination attachments by considering two critical attributes as mediators, including creative experience (i.e., Escape and Recognition, Unique Involvement, Interactivity, Peace of Mind and Learning) and cultural memories. We also considered two elements of tourists’ behaviors (satisfaction and attitude) as important contingencies. We test and integrate our concepts of a moderated mediation framework using the cultural and creative tourism from a sample of 651 tourists. We discuss how our empirical results extend Chinese culture, creative experience, and destination attachment research and provide the study’s theoretical and managerial implications.

The paper is depicting an initiative created by a creative industries entrepreneur in Bandung, Indonesia, to enable local talents in order to be sustainable. It is one example of how the government, business practitioners and academics are able to collaborate in producing the way forward for a city.

Introduction For a long time, firms have been improving product function, performance, price-performance ratio (hereinafter uniformly referred to as functional aspects of product design), and product appearance. Nevertheless, the current market situation is that many products in the same category are similar in quality, price and appearance. Product homogeneity leads to excess supply, and this situation is objectively long-standing. For consumers, positive emotions often play a key role in their purchase decisions. Yet, when most products seem to be similar, it is difficult to evoke more positive emotions of consumers to increase their willingness to pay. This paper shows that besides product appearance and functional aspects of product design, the connotations of product aesthetics should also be focused. In other words, aesthetic aspects of product design should include both product appearance and connotations. Connotations, as deep meaning inside product aesthetics, can evoke either consumers’ memories of the past or imagination of new creative ideas, or both (e.g., Starry night umbrella by MoMA Design Store, Sakura Masking Tape by Bande). Although the contents of memory recall or imagination might differ across consumers, positive emotions evoked in that process will increase willingness to pay. A new conceptual model is proposed in this paper, which shows that functional aspects, product appearance, and the connotations of product aesthetics could cause different psychological activities, and positive emotions evoked in those processes can enhance willingness to pay. When most products tend to be similar, the connotations of product aesthetics could be a promising area for firms today to make their products distinctive and increase their market share. Product Design and Consumer Emotions (1) Elements of Product Design Product design is considered as the set of properties of a product, including both functional and aesthetic aspects (e.g., Homburg, Schwemmle, & Kuehnl, 2015; Jindal, Sarangee, Echambadi, & Lee, 2016; Luchs & Swan, 2011). Functional aspects of product design consist of function, performance, and price-performance ratio. Aesthetic aspects mainly refer to product appearance, consisting of visual elements such as color, shape, and material. (2) Relationship between Product Design and Consumer Emotions Previous research shows that functional aspects of product design could evoke positive emotions like satisfaction, and aesthetic aspects could please our senses and make us feel delight (e.g., Bloch 1995; Chitturi, Raghunathan, & Mahajan, 2008). Furthermore, Norman (2004) points out that emotional factors can be the key to the success of product design. If a product could evoke consumers’ positive emotions, those emotions would arouse willingness to pay. If not, consumers might not have the desire to buy it. The Connotations of Product Aesthetics Evoking Positive Emotions of Consumers As Barnard (2005) suggests, as the deep level of meaning, connotations refer to one’s feelings or thoughts caused by a design. This paper proposes that the connotations in product aesthetics could either remind consumers of their past experiences or trigger their imagination to think about new creative ideas, or both. Emotional resonance could be achieved and finally facilitate purchase behaviors. In our daily lives, there are many products that have not only beautiful appearances but also the connotations of product aesthetics. For instance, Starry Night Umbrella by MoMA Design Store (Figure 1). MoMA Design Store released an umbrella patterned with stars, the moon and the sky that swirl, which reminds consumers of the masterpiece The Starry Night (1889) by Vincent Van Gogh. When encountering this umbrella, consumers who love the works of Van Gogh will have positive emotions and a strong desire to buy it. Cherry Blossom Masking Tape by Bande (Figure 2). Bande, a Japanese masking tape brand, launched a masking tape with sakura (cherry blossom in Japanese) petals design. Its real-like floral design can remind consumers of spring or their own stories with cherry blossom and trigger their imagination to come up with lots of creative ideas such as using it to decorate their diaries, laptops, furniture, and so on. Besides the original function of tapes, the connotations inside product aesthetics could encourage consumers to think creatively and feel happy. A Conceptual Model of Product Design, Positive Emotions, and Market Share This paper proposes a conceptual model (Figure 3), showing that different aspects of product design can evoke consumer emotions and those positive emotions have a positive effect on willingness to pay. First, functional aspects of product design are very important. Consumers compare function, performance, and price-performance ratio among many products, which is considered as a process of rational thinking. Products with high qualities and affordable prices can make consumers feel satisfied. Positive emotions (E1) evoked by functional aspects can enhance the willingness to pay and bring firms market share (S1). Then, on the bases of functional aspects, firms use different colors, shapes, and materials to make product appearance attractive. Sophisticated appearances of products can please the senses of consumers and evoke positive emotions (E2). That could increase their desires to buy and bring more market share (S2) for firms. Nevertheless, these two parts are what most firms can do today. To make products distinctive, firms should add connotations into aesthetic aspects of product design, which can trigger consumers’ memory recall of their past experiences or their imagination of new creative ideas, or both. Although the contents of recall and imagination are different across consumer, the arousal of positive emotions (E3) will enhance willingness to pay and finally bring new market share (S3). Thus, two equations derived are as follows: Positive Emotions = E1+E2+E3 Market share =S1+S2+S3 If firms take all these aspects of product design into consideration, their products will evoke consumers’ positive emotions adequately to increase willingness to pay, and help firms occupy more market share from fierce market competition. General Discussions On the market today, lots of products have beautiful appearances and seem to be similar in functional aspects of product design. To make products distinctive, this paper considers that firms should also attach importance to the connotations of product aesthetics. The connotations will remind consumers of their past experiences or let them imagine new creative ideas, or both. Positive emotions evoked during that process increase willingness to pay. That is a promising area for firms today to gain more consumers and new market share. Since the connotations of product aesthetics could be influenced by factors such as age and culture, it is important for marketers to investigate and analyze consumers’ understandings of aesthetics from different ages and cultures, then feed it back to designers to help them design successful products in the future.

Government policy supporting the fashion industry in Korea has focused on the future development of rising fashion designer’s brands, and as a part of this support, several Fashion Creative Studios are presently operated. The purpose of this study is to identify the meaning of these facilities and suggest development strategies for their effective utilization. This paper presents a conceptual understanding based on a literature review, and deduces the direction of Fashion Creative Studios through an exploratory analysis of various case studies and in-depth interviews with five designers, who have graduated from the Seoul Fashion Creative Studio. The results are as follows. Firstly, fashion educational institutions have to provide sufficient information about the Fashion Creative Studios to students. They can also consider adding short-term residencies to the curriculum in which students prepare collections or portfolios for the studios. Secondly, Fashion Creative Studios are required to intensify business and marketing programs to increase real-world support. It would be helpful to provide 1:1 management programs with several segmented stages for the design brands, or connect them to investors who could provide financial support and business expansion. Thirdly, Fashion Creative Studios need to find a way to strengthen textile differentiation and craft characteristics to increase designer brand competitiveness. Broadening participation with textile designers, connecting with experts and ateliers, and promoting collaboration with artists and artisans in the Arts Creative Studios can be further examined to this end.