글로벌화와 정보화의 급속한 발전에 따라, 인류 사회는 중대 한 변화를 겪고 있습니다. 이 변화는 인류의 생존, 생산, 생활 방식을 바꾸었을 뿐만 아니라 사회, 경제, 문화, 환경 등 여러 측면에서 깊은 반성을 불러일으켰습니다. 경제 발전을 바탕으 로 사회적, 경제적, 환경적 이익의 균형 성장을 실현하고, 전통 문화를 고양하며, 국민의 삶의 질을 향상시키는 것이 시급히 해결해야 할 중대한 과제가 되었습니다. 2003년, 유네스코는 '무형문화유산 보호 협약'을 통과시켰으 며, 그중 '부흥'과 '재창조'가 무형문화유산 보호의 핵심 목표 로 확립되었습니다. 2006년, 중국 국무원이 첫 국가급 무형문화 유산 대표 프로젝트를 발표한 이후, 무형문화유산에 대한 관심 이 꾸준히 증가하고 있습니다. 정부는 무형문화유산의 보호와 전승에 더욱 힘쓰고 있으며, 학계의 관심도 지속적으로 높아지 고 있습니다. 또한, 민중의 참여 열정이 더욱 높아지고 있습니 다. 이러한 현상은 무형문화유산의 문화 생태가 정부, 연구자, 현대 디자인 및 예술 종사자, 문화 관광 산업 경영자, 소비자 등 다양한 주체들의 참여를 통해 통합되는 데 기여하였으며, 문화 창작 디자인과 사회 혁신의 발전을 촉진하였습니다. 전 세계 정보가 빠르게 교류되는 문화 기술 생태계를 마주하 면서, 무형문화유산의 전승과 혁신은 전례 없는 기회와 도전에 직면하고 있습니다. 물론, 무형문화유산의 독특성과 다양성은 무한한 혁신 잠재력을 지니고 있지만, 글로벌 문화 교류의 흐름 속에서 무형문화유산의 전승과 혁신은 정부, 학계, 디자인 및 예술 종사자, 문화 관광 산업 경영자, 소비자 등 여러 측의 공동 노력이 필요합니다. 이를 통해 사회적, 경제적, 환경적 이 익의 균형 성장을 실현하고, 국민의 삶의 질을 향상시키는 것 이 필요합니다. 冼夫人(선부인) 문화는 광둥성과 하이난성 두 지역의 사람들 생활에서 큰 영향을 미치는 무형문화유산입니다. 이를 연구 대 상으로 하여, 저자는 연구 과정에서 문헌 조사, 사례 분석, 비 교 분석, 네트워크 분석, 사회 조사 인터뷰 등 다양한 연구 방 법을 사용하였습니다. 사회 혁신에서 선부인 문화의 전승과 혁 신의 핵심 가치를 깊이 있게 발굴하고, 선부인 문화유산 전승 과 혁신 디자인의 요소와 구성을 추출하였습니다. 또한, 이론과 실천을 결합하여 'Z세대'를 대상으로 한 조사에서 젊은 세대를 위한 선부인 문화의 문화 창작 제품과 이야기 삽화를 디자인하 였습니다. 광둥성 영남 지역 선부인 문화의 발원지인 마오밍 가오저우에서 연구 결과를 실천에 적용하였습니다. 이 연구 내용을 바탕으로, 본 논문은 선부인 문화를 예로 들 어, 문화 창작 디자인과 사회 혁신의 관점에서 디자인학과 사 회학의 교차 연구 방법을 종합적으로 활용하여 동서양 문화 창 작 디자인과 사회 혁신의 발전 현황을 연구하였습니다. 무형문 화유산의 전승과 혁신 디자인 및 현대 가치 전환에서의 역할을 탐구하고, 새로운 시각, 아이디어 및 방법을 연구 분석하려고 하였습니다.

This research investigates how digital design agencies and client companies incorporate design thinking―a human-centered approach to solving difficult problems―into their website development processes. Based on a literature review on the design-thinking-driven web development process, multiple case studies of award-winning website projects were performed by in-depth interviews with key practitioners. Through analyses of these cases, their user-centered approaches for website innovation were identified according to the following four phases: web planning (discovery and defining phases) and web design and development (development and delivery phases). Moreover, distinct approaches of design thinking practices were identified according to two website types: a brand promotion website with a killer brand storytelling approach; and a service channel website with a strategic UI/UX-driven approach. Next, the key success drivers of these website projects were suggested in light of the typical themes of design thinking (i.e., human centeredness, research based, context awareness, and collaboration). Some practical limitations were also found in adopting the design-thinking-driven web development process, such as limited research methods and tools, and insufficient prototyping and experimentation. Along with these limitations, it was also discovered that current digital design agencies still face the following challenges in adopting the design-thinking-driven web development process: building a long-term, playful partnership with clients; leveraging decision-makers' design thinking awareness; and coping with limited resources (design thinking practitioners, budgets, and schedules).

This study explores how the fashion and product designers of luxury and premium brands envision the direction of product innovation. The findings include valuable support for the luxury brand strategy of moving towards innovation in sustainability, customization, and developing the new concepts of rarity of experience and luxury sports products.

The approach will be to study the fast evolving use of technology in fashion, especially related to creating innovative materials in the clothing business. From discussing nano technology as well as embedded sensors, we shall try to take a look at the evolution of technology in fashion garment construction. Special mention will be given to companies like Intel who are working with designers to create innovative fabrics and material prototypes. We shall also touch upon the use of technology to create unique and rare products that cannot be recreated and hence have a lot of value associated with them.

Supply and demand patterns have dynamically changed in recent years due to the increased global competition. Firms have selected quality and price as competition components and have accomplished corporate innovation in order to achieve competitive advantage. Innovation has been recognized as the way to enhance corporate competitiveness and to continuously grow in churning global competition (Homburg, Schwemmle, & Kuehnl, 2015; Moon, Miller, & Kim, 2013). Although innovation becomes a common means to improve a firm’s performance, it has the limitation of achieving a firm’s strategic goal as a long-term strategy. Thus, firms need to have more fine-grained strategies to survive in dynamically changing business environment, such as design innovation (Moon et al., 2015). For example, Apple has produced its products (e.g., iPhone, iPod and iPad) focusing on innovative product design to influence consumer purchase intention. Design can lead to a distinct competitive advantage (Bolch, 1995). Furthermore, product design can be used by firms to create amd enhance brand recognition, as well as to increase firms’ value (Mozota, 2002). Brand experience positively influences customer satisfaction and brand loyalty (Brakus, Schmitt, & Zarantonello, 2009). Thus, we assume that design experience and product innovation have a positive effect on consumers’ purchase behavior and customer value. However, while the importance of design innovation is recognized, it is not easy to apply the design innovation to marketing due to the lack of relevant research in the field. In fact, relevant research on the influence of innovative new product design and design experience on customer value is scarce. Therefore, the purpose of this study is to investigate how brand experiences and innovative product design affect customer value. Successful innovation is accomplished by identifying customer needs first and developing innovative products to satisfy their needs (Hauser et al., 2006). Design is seen as the core of innovation and the moment when a new object is conceived of, devised, and shaped in a prototype form (Landwehr, Wentzel, & Herrmann, 2013). Verganti (2008) studies the concept of "user-centered design," which describes how companies can use design to improve their relationships with users and develop a better understanding of user needs. In this research, design innovation has three dimensions: aesthetic attributes, feature attributes, and emotional attributes. First, aesthetic attributes focus on the product design itself. The aesthetic appearance of a product has a large bearing on its potential market share (Liu, 2003). Second, feature attributes focus on the product features and functional aspects that are required to satisfy customer needs. Feature attributes enable performance that can give results in the operating process (Crawford & Di Benedetto, 2007). Third, emotional attributes focus on consumers’ feeling when they purchase a new product to satisfy their needs. Emotional attributes are generated by consumers’ experience when they purchase a new product in the store. The more the product design satisfies customer's emotional needs, the more customers’ attention is attracted to the purchase of a product (Mokarian, 2007). A product satisfying the aesthetic, feature, and emotional attributes through design innovation provides a new experience to customers (Desmet & Hekkert, 2007). A consumer’s purchase decision making is affected by both direct and indirect experience of using the product and the function of product (Brakus, Schmitt, & Zarantonello, 2009). Therefore, a designer comes to design the product, taking an interest in the experience that the product gives besides its shape and function. Product experiences occur when a customer interacts with the product ̶ for example, when customers search for, examine, and evaluate products (Hoch, 2002). The product experience can be direct, i.e. when there is physical contact with the product (Hoch & Ha 1986) or indirect, i.e. when a product is presented virtually or in an advertisement (Hoch & Ha 1986; Kempf and Smith 1998). Brand experience can be split into four dimensions (sensory, affective, intellectual, and behavioral), which are differentially evoked by various brands (Brakus, Schmitt, & Zarantonello, 2009). According to previous studies, these four experience dimensions (sensory, affective, intellectual, and behavioral experience dimensions) have an effect on customer satisfaction and customer loyalty. Customer value can be defined as the trade-off between the benefits and sacrifices as a customer purchases a product or service from a supplier (Ulaga & Chacour, 2001). Ulaga and Chacour presented three dimensions of customer value: product-related components, service-related components, and promotion-related components. The researchers argued that customer value could be an important strategic marketing tool to clarify a firm's proposition to customers. Product-related components are intrinsic product characteristics. Product quality is a key factor of relationship value (Ulaga, 2003). Customer value consists of product value and service value. Customer value can be enhanced by quality, diversity, payment, and service quality and decreased by price, convenience, and risk (Jarvenpaa & Todd, 2003). Service-related components include all aspects of service associated with the product. Various service components play an important role in differentiating a supplier's offering (Narus & Anderson, 1996). Promotion-related components include all items used to promote the product to the customer. For all purchasing processes, it is necessary to assess the perceived customer value, such as service quality and promotional quality (Qualls & Rosa, 1995). In the present study, we conducted a research survey with 300 subjects and analyzed the data. In order to test the reliability of questionnaire, Cronbach's alpha was used. In order to test the validity, an exploratory factor analysis was conducted. Measurement was made for 3 variables, i.e. design innovation, design experience, and customer value. Three variables (aesthetical attributes, feature attributes, and emotional attributes) were used for design innovation. Three types of attributes were introduced for a mobile phone design innovation. Four dimensions (sensory, affective, intellectual, behavioral) were measured using a technical design experience and a humanistic design experience. Three variables (product-related customer value, service-related customer value, and promotion-related customer value) were employed for customer value. The results of the analyses demonstrate that design innovation has a positive effect on design experience, while design experience has a positive effect on customer value. Aesthetic attributes of design innovation have a positive effect on technical design experience and humanistic design experience. Feature attributes have a positive effect on the technical design experience and the humanistic design experience. Emotional attributes have an effect on the technical design experience and the humanistic design experience. The technical design experience has a positive effect on product-related customer value, service-related customer value, and promotion-related customer value. The humanistic design experience has a positive effect on product-related customer value, service-related customer value and promotion-related customer value. This study will make it possible to empirically examine how customer's experience in design innovation affects customer value. Our results will provide a theoretical foundation for examining a relationship between variables regarding how design innovation influences customer value through design experience. It is intended to give a direction as to the design innovation of firms by clarifying and presenting antecedent factors having an effect that design innovation produces on customer value. The results of the present study will inspire designers to design in consideration of design experience. Finally, our study will provide marketers with guidelines as to how design experience can influence customer satisfaction and loyalty.

Design innovation is acquiring greater importance as consumers’ emotional needs grow ever greater and the cycle of technological innovation grows ever faster. Apple in particular led and strengthened this trend, achieving incomparable business success in the technology-driven electronics industry. However, although the importance of design innovation has increased, very little research has been done to explain the influence of design innovation on business success. This study aims to investigate the influence of design innovation attributes on perceptions, attitudes, and purchase intentions among designers and consumers. 408 designers and 464 consumers participated in an online survey that presented as stimuli four different smart watches. Design innovation attributes were evaluated based on the criteria of features, aesthetics, and ergonomics; consumer-perceived values were categorized as emotional, social, and functional. Regarding consumers attitudes, attitude toward product and attitude toward brand were measured separately. Overall results indicate that purchase intention among designers and consumers alike is influenced by their attitude toward product as well as brand. However, in the case of designers, these attitudes are most influenced by emotional value, while consumers are influenced by emotional as well as social values. Moreover, all three innovation attributes - namely, features, aesthetics, and ergonomics - affect designers’ perception of emotional value, but only aesthetics and ergonomics affect consumers’ emotional and social value. The study demonstrates three significant differences in the responses of designers and consumers. First, there is correlation of aesthetics and ergonomics to functional (price) value among designers, but not consumers. Second, there is correlation of functional (quality) value to attitudes toward product and brand for consumers, but much less or none at all for designers. Third, the influence of features on perception of emotional value is more pronounced among designers as compared to consumers. In conclusion, aesthetics and ergonomics are important design innovation attributes for consumers as well as designers, but the latter also attach significance to features. While perception of emotional as well as social value is important to consumers, designers consider only emotional value. It is anticipated that the relative importance of design innovation attributes will vary according to product categories and price ranges; therefore, further comparative studies will be meaningful in investigation of design innovation.

Research on new product development has emphasized the importance of integrating customers, employees, and suppliers in an organization’s innovation processes. While several studies evaluate respective participatory processes, there is, surprisingly, no consensus on which dimension participation quality consists of, and how to measure them consistently. The present study contributes to the literature by identifying the dimensions of participation quality and by constructing a participation quality scale that includes six dimensions, namely (1) project-related resources, (2) early involvement, (3) degree of influence, (4) transparency of processes, (5) incentive mechanisms, and (6) voluntariness of participation. Furthermore, a 24-item measure of participation quality is developed using a mixed-method design. Results of our study show that the developed measure impacts important innovation-related outcomes such as innovation performance, acceptance of the innovation, and intention to participate in future innovation projects. Given that the six identified dimensions of participation quality differentially affect these outcomes, the scale provides the opportunity to better design participatory innovation projects, and thus helps managers to integrate stakeholders more successfully in these projects.