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Co-creative Value for Cultural and Creative Economic Growth - Designing a Cultural Merchandise and Constructing a Marketing Model

机译：文化创造性经济增长的共同创意价值 - 设计文化商品和构建营销模式

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摘要

With globalization and the advent of technology, consumers are exposed to various cultures through different means; consequently, their selfidentity and recognition of their own culture become confused. Designers can develop merchandise by cultural creativity, converting their cultural creation into the core value of the merchandise which will serve as vehicles for conveying cultural messages and generating cultural identity and regional economic value. But, facing the issue of economic production, the development of contemporary cultural merchandise should, apart from creative design, also consider the demands of daily life, before it can further generate productive value as a business. Owing to the present problems in the process of production of cultural merchandise including the contexts of creativity, productivity of fashion trends, and additional functions, the specific basis for the evaluation of designs are often wanting; as a result, designers' works are not echoed to and recognized by consumers, which leads to difficulties in sales. When designers have a commercial concept when they are designing a cultural merchandise, they involve both the design aspect and the commercial value; in this aspect a business model can be a tool offering choices for the core strategies of the business (Shafer, Smith, and Linder, 2005); it is for profit (Afuah, 2004) that designers set and execute business models. This study makes a reference to Osterwalder and Pigneur's (2010) Business Model Canvas, which is comprised of nine elements. These include value proposition, customer segments, distribution channels, customer relationship, revenue streams, key resources, key activities, key partners and cost structure. With reference made to the said Business Model Canvas, this study contemplated how to establish models for designing cultural merchandise and marketing them. We thus adopted the approach of using an expert focus discussion and gathered information in two stages. Stage one involves two focus group meetings, to which experts with experience in cultural merchandise-related design, business start-up, and marketing, ten of them in all, were invited. The meetings were conducted using semi-structured interviews, encouraging the participating experts to share their practical experiences. The interview transcripts were coded in the scope of commerce and marketing to construct a hub-and-spoke type model for designing and marketing cultural merchandise. Stage two, launched in Northern, Central and Southern Taiwan, respectively, invited experts in the industry, government and academia from these regions, 18 of them in all, to the meetings on the related issues including marketing cultural merchandise. In the phase of data analysis, the recommendations of the participating experts were integrated, and the Business Model Canvas was further referenced in an attempt to establish a model for designing cultural merchandise and to deduce business and marketing models that are consistent with the design of cultural merchandise. The findings hereof will propose a thinking model for the business operations and marketing of cultural merchandise, in which the key elements interrelate. The mode is intended to encourage the industry or designers to make reference to it when developing their design and implementing subsequent marketing strategies, so as to integrate all aspects such as cultural creativity, creative design, and business economics, in order to jointly generate economic value for the cultural merchandise in the modern market.
机译：随着全球化和技术的出现，消费者接触到通过不同的方式不同的文化;因此，他们的自我认同和认可自己的文化感到困惑。设计人员可以通过文化创意发展的商品，他们的文化创意转化为商品，这将作为车辆输送的文化信息和文化产生认同和区域经济价值的核心价值。但是，面对经济生产的问题，当代文化商品的开发应，除了创意设计，还要考虑生活的需求，才能够继续创造生产价值，作为企业。由于在生产文化商品，包括创造力的环境，时尚潮流的生产力，和附加功能，外观设计往往是想评价的具体依据的过程中存在的问题;其结果是，设计师的作品不回并受到消费者，从而导致认识到在销售困难。当设计师时，他们正在设计一个文化商品商业概念，他们同时涉及设计方面和商业价值;在这方面的业务模型可以提供为企业的核心战略（谢弗，史密斯和林德，2005）选择的工具;它是利润（Afuah，2004年），其设计者设置和执行的商业模式。这项研究使得对奥斯特瓦德和Pigneur的（2010）商业模式画布，它由9个元素的引用。这些措施包括价值主张，细分客户，分销渠道，客户关系，收入流，关键资源，关键活动，主要合作伙伴和成本结构。随着对提及说商业模式画布，这项研究考虑如何建立模型设计文化商品和销售它们。因此，我们采用了两个阶段使用专家重点讨论和收集信息的方法。第一阶段包括两个焦点小组会议，这在文化商品相关的设计，企业初创和市场营销经验的专家，在所有这些十，被邀请。会议采用半结构化面试，鼓励与会专家分享他们的实践经验进行。面试成绩单在商业和市场营销的范围进行编码来构造设计和销售文化商品的枢纽 - 轮辐式模型。第二阶段，在北部，中部和南部台湾推出，分别邀请了在业界，政府和学术界的专家从这些地区，他们都18，对相关的问题，包括营销文化商品会议。在数据分析阶段，与会专家的建议进行了整合，而商业模式画布在试图建立一个模型来设计的文化商品和推断业务和营销模式，是与文化的设计一致，进一步引用商品。调查结果将本文提出的业务运营和营销文化商品，其中的关键要素相互关联，一个思维模式。该模式的目的是发展自己的设计和实施后续营销策略时，鼓励行业或设计要参考它，以便所有的方面，如文化创意，创意设计，和商业经济整合，以共同创造经济价值在现代市场文化商品。

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