Keywords

1 Introduction

Creative Life Industry, which integrates experiences of livelihood industries and high quality aesthetics, plays an important role in guiding enterprises to apply the concepts of experience economy. There are various competitive elements that play significant roles within the economic development from industrial to experience-economy. These include quality, function, brand, service, and information. Additionally, the key factors that create the experience-economy are the “service space” and “qualia.” According to Lin (2011), in order for the development of economy and culture to flourish, “experiences” are applied to four dimensions which include space, service, product and promotion of an enterprise.

After integrating culture with “design creativity,” a form of “aesthetics economics” was produced and transformed into a “design industry.” There are many components that influence the design stages of brand-name fashion. These range from cultural strengths, integration of unique creativity, and emphasis of QUALIA traits. For this reason, the success of a product in the fashion market is closely related “QUALIA.” As a result, Taiwan has begun to shift into a cultural and creative industry by creating their own brands and QUALIA products. Fashion brand companies realized that product success depended not only on its market and technology aspects, but also innovation in service.

The features of QUALIA enables users to become subjective of all the qualities that contribute to the product’s uniqueness. To explain, level of attraction, beauty, creativity, and engineering are all features of QUALIA that trigger interaction within the mind. Previous research mainly focused on applying QUALIA in the area of product design. This study extends that perspective to exploring curatorial design of fashion activity and proposes differentiation and specialization for future references.

2 The S-O-R Paradigm Perspective

Studies on how the environment affects human behavior has its roots in Psychology. For instance, Schacter (2011) argued that in order to understand the environment, perception is necessary and defined as the organization, identification, and interpretation of sensory information. Similarly, Goldstein (2009) states that all perception involves signals in the nervous system, which in turn, results from physical or chemical stimulation of sensory organs. Perception is not the passive receipt of these signals, but is shaped by learning, memory, expectation, and attention (Gregory 1987; Bernstein 2010).

Atmospherics is a qualitative construct that encompasses four of the main senses, with the exclusion of taste. In marketing terms, Philip Kotler (1973) defines “Atmospherics” as the conscious designing of space to create certain effects in buyers. He also argued “Atmospherics” as a tangible product and is only a small part of the total consumption package. Buyers respond to the entire product, which include services, warranties, packaging, advertising, pleasantries, images and so on.

Stimulus-response theory was the first to suggest a link between environment and behavior. In Marketing research, Kotler (1973) initially referred to the importance of environmental atmospherics as a marketing tool. The Mehrabian-Russell Model is based on the Stimulus-Organism-Response(S-O-R) paradigm, which includes components of the environment (S) that induce approach-avoidance behaviors (R) within the environment. They are mediated by the individual’s emotional states (O) aroused by the environment. Mehrabian and Russell (1974) states that responses to an environment are classified as either approach or avoidance behaviors. Lazarus (1998) criticized this behavioristic psychology perspective by arguing that “a person in this interchange is a passive creature, reacting to an environment that stimulates him or her, and that person’s influence on the environment is ignored.”

Commercial space is divided into three different atmospheres: intended atmosphere, designed space, and perceived atmosphere. Kotler presents atmospherics as an important concept that largely influences position when determining value. Kotler proposes that applying brand fashion show to connecting atmospheres will produce a causal chain:

  • Effect of perceived sensory qualities

  • TA’s perception of the sensory qualities

  • Impact of TA’s modified information and affective state

  • Sensory qualities of space surrounding object of purchase.

3 The Branded Service Space Perspective

Service space is a concept that was developed by Booms and Bitner (1981) to emphasize the impact of the physical environment when a service process takes place. Booms & Bitner defined a servicescape as “the environment in which the service is assembled and in which the seller and customer interact, combined with tangible commodities that facilitate performance or communication of the service.” The servicescape divides into the exterior (landscape, exterior design, signage, parking, surrounding environment) and the interior (interior design and decor, equipment, signage, layout, air quality, temperature and ambiance). Bitner (1992) coined the term ‘servicescapes’ in reference to the physical surroundings, as fashioned by service organizations, to facilitate the provision of service offerings to customers.

A brand encompasses the name, logo, image, and perceptions that identify a product, service, or provider in the minds of customers. It takes shape in advertising, packaging, and other marketing communications, and becomes a focus in the relationship with consumers. Brand equity is defined as the value of a brand. According to cognitive psychology, brand equity lies in consumers’ awareness of brand features and associations, which drive attributions and perceptions. Branded environments extend the experience of an organization’s brand, or distinguishing characteristics as expressed in names, symbols and designs, to the design of interior or exterior physical settings (Bertil 2011). It uses space as a physical embodiment of the brand to create a “brand space.” This is achieved through “architecture, interiors, lighting, graphics, landscape” in spaces such as retail stores, showrooms, trade-fair booths and office environments.

Servicescape comprised of ambient factors, design factors and social factors (Ezeh and Harris 2007). Similarly, fashion show environmental stimuli are comprised of both ambient and design factors. Creators of branded fashion show environments leverage the effect of the physical structure and organization of space to help deliver their TAs’ identity attributes, personality and key messages. In fashion shows, the catwalk servicescape involves exterior space (exterior design, signage, surrounding environment) and interior space (interior design and decor, stage, equipment, signage, layout, air quality, temperature and atmosphere). Various benefits of a fashion branded environment include improved brand position and communication, greater audience recognition, differentiation from competitors, and higher perceived value. The concept of fashion show servicescape and audience experiences help assess the difference between a fashion brand and a fashion industry.

4 QUALIA Perspective

The former Chief Executive Officer of Sony Corporation, Nobuyuki Idei, believes that market products and “QUALIA” are closely related. Qualia design is considered to be one of the pivotal components in cultural and creative life industries. It has a significant impact on consumer perception of innovation. Until now, research investigating use the QUALIA were more focused in the area of product design. According to the study conducted by Ko et al. (2009); Lin (2011), examined a cultural product design model that internalizes the awareness of culture and creativity through atmosphere building, storytelling, perceptual-space creating, and touch-experience design. Based on the analysis above, the conclusion is that the TA internalizes all these features and information that are shaped from curatorial design of fashion industry and have an impact on their experience and interpretation. Research on QUALIA design factors of the fashion exhibition environment display that QUALIA design provides a deep understanding of the link between target audience behaviors and new ways of interpreting feature-responses. To investigate the effect of QUALIA empirically, it is necessary to analyze participants’ emotions and interactions within the fashion show. This article analyzes the psychological processes that produce the various emotional expressions that occurred throughout the fashion show of emotions references the emotional expressions produced in the fashion show and analyzes the psychological processes.

4.1 Attractiveness Perspective

Visual attractiveness, produced primarily by visual stimuli, is a quality that produces a strong desire. It generates emotions of interest and attracts attention to an object, event, or process.

4.2 Beauty Perspective

Beauty is a quality that is visually pleasing. The experience of “beauty” often involves an interpretation of some entity as being in balance and harmony with nature, which may lead to feelings of attraction and emotional well-being. Because this can be a subject experience, it is often said that “beauty” is in the eye of the beholder. For instance, in a fashion show, visually stimulating experiences are created and influenced by sensational clothing showpieces, external elements, fashion model, stage style, music levels, etc. Therefore, the performance effect and emotional expression embodies psychology and consciousness.

4.3 Creativity Perspective

Creativity is a phenomenon in which something new and valuable is formed. Re-search by Dr. Mark Batey of the Psychometrics at Work Research Group at Manchester Business School has suggested that the creative profile can be explained by four primary creativity traits with narrow facets within each. “Idea Generation” (Fluency, Originality, Incubation and Illumination). “Personality” (Curiosity and Tolerance for Ambiguity). “Motivation” (Intrinsic, Extrinsic and Achievement). “Confidence” (Producing, Sharing and Implementing). Creativity in fashion shows involves performance strategy, theme, media application and originality.

4.4 Delicacy Perspective

Exhibition layout and design offer service and activity flow. The importance of delicacy perception and its influence can be seen in fashion shows. These factors consist of atmosphere creation, visual performances, fashion show space imagery, runway type, model type, clothing display techniques etc. We expect that the delicacy results can be used as a reference for relevant fashion runway design in the future.

4.5 Engineering Perspective

Kansei Engineering aims at the development of products and services by translating the customer’s psychological feelings and needs into the domain of product design (i.e. parameters). Kansei Engineering parametrically links the customer’s emotional responses (i.e. physical and psychological) to the properties and characteristics of a product or service. In consequence, products can be designed to bring forward the intended feeling. Kansei Engineering can be considered as a methodology within the research field of ‘Affective Engineering’. Aside from the functional traits, the visual qualities engineering design may affect perception.

Fashion shows incorporate affective attributes such as brand attractiveness, style aesthetics, performance creativity, service delicacy and space engineering which are key factors consumers seek when selecting brand products. Therefore, fashion designs must consider not only audience products needs but also need offer qualia mentality and emotions.

5 Method

This study presents review of fashion-show environmental psychology articles based on the stimulus-organism-response paradigm. The paper follows the sequence of the Stimulus-Organism-Response(S-O-R) framework starting with environmental stimuli in fashion show settings. Then, audience’s inner organism theories are reviewed, followed by behavioral responses. Fashion show target audience (TA) under the stimulus-response paradigm are viewed as machines which react automatically to stimuli. Therefore, the S-O-R suggests that when a person is exposed to external stimuli, ‘inner organism changes’ precede behavioral responses.

According to the S-O-R model, to investigate the effect of QUALIA empirically, it is necessary to analyze participants’ interactions and emotions produced within the fashion show. The purpose of this research is to explore the exhibition design of fashion industry activity and apply the five aspects of QUALIA: attractiveness, beauty, creativity, delicacy, and engineering. Figure 1 describes the SOR model of QUALIA perception and processing involved in brand-fashion exhibition. The research method consists of three steps: sense environmental variables to understand participants emotional state information, then behavioral responses to design elements, and finally to apply QUALIA design into fashion show; and four stages: (1) Brand Showpieces design concept (translating fashion features into curatorial information and design elements), (2) exhibition set (project design, target, objective), (3) exhibition design (Strategy, theme, originality), and (4) designing exhibition layout (activity flow, environment visual). Therefore, QUALIA are elements of discourse between a participant and a brand. The aim of this paper is to review fashion exhibition environments, TA emotions, and cognition in fashion show experiences.

Fig. 1.
figure 1

Mehrabian and Russell Model (1974) A approach to environmental psychology; A conceptual framework for exploring the fashion show turning (S-O-R) into QUALIA.

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The Stimulus-Organism-Response(S-O-R) paradigm dominated consumer behavior literature and has been widely employed in marketing. In recent years, the rapid development of Taiwan’s creativity in the living industry began to promote service innovation; which also became a core competitive strength for the fashion industry. In order to match the requirements of innovative service, the process of QUALIA design has not only been introduced to the industry, but also created total experiences for the audiences and consumers.

6 Experimental Samples

This study is from the brand curatorial design of fashion show pragmatic experience and formality. Fashion brands trace back to the essence of new creative design concepts, showpieces, and curatorial works. Interpretations can be affected by attractiveness, relationship between brand, curatorial, operation of an art space, etc. In other words, the direction of curatorial and adjustments result from different experiences.

In this study, the experimental samples were based on the brand curatorial design of fashion shows. KERAIA not only offers combinations of ordinary clothing and party dresses, but also makes high-end fashion apparels and formal outfits. Following the international trend, they also launched brand-fashion shows to promote various seasonal products such as accessories, fashion leather products, shoes, hand-bags, and jewels. Given the research purposes, KERAIA’s fashion show events over the past two years were observed.

Experimental Sample 1: Brand Fashion Show in Taipei IN Style (2014). Taipei IN Style’s (TIS) core value is to promote the fashion industry in Taiwan by supporting not only the popular brands, but also the individual designers for their creativities and aspirations. KERAIA attended the new collection fashion show in TIS with the clear goal of introducing Taiwan fashion with the professionals worldwide. TIS strives to pull an all-in-one trade fair where a variety of events, ranging from press conferences, house shows, seminars, trunk shows, and business matching meetings, are all delicately presented for the numerous visitors. Table 1 is KERAIA curatorial design of fashion show with 2014 new collection- British Luxury beauty. Ms. Tsai Li-Yu, design director, chose to adhere to the new artistic aesthetics fusion. The Brand curatorial design of fashion show was a process consisting of showpieces design concept while setting the British Sweet and romantic theme as the visual environment. Plan atmosphere and show space imagery. The purpose is to promote Taiwan’s designer brand. Target is especially for brand exposure for the international fashion media, business partners, and brand VIPs.

Table 1. KERAIA curatorial design of fashion show in Taipei IN Style, 2014
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TIS is a platform for Asian brands that also acts as a bridge connecting KERAIA with buyers. This is beneficial for both parties as they provide opportunities to meet, exchange of ideas, business discussions, and introduction of new potential friends from different parts of the world. Table 2 displays the types of QUALIA elements and Participant emotion definitions involved in the KERAIA fashion show. In relation to the performance effect, the artistic taste and emotion expression presented in the fashion show can stimulate the audience psychologically. In addition to media exposure and previously listed benefits, TIS also offers KERAIA VIPs the most up-to-date fashion and market trends, new product launchings, and special promotions through the TIS official website or Facebook. The QUALIA show also maintained the media and VIPs as significant roles.

Table 2. The types of QUALIA elements and Participant Emotion definitions in 2014 KERAIA fashion show.
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Experimental Sample 2: Brand Fashion Show in Mandarin Oriental, Taipei (2015). QUALIA branded environments consist of improved brand position and communication. KERAIA demonstrates this in their 20th anniversary brand festival by becoming renowned for providing “great customer service” to repay VIPs. The fashion show’s high quality brand servicescape includes many features such as catwalk show venue, exterior space (exterior design, signage, surrounding environment) and interior space (interior design, decor, stage layout, air quality, temperature and atmosphere). Table 3 is KERAIA’s curatorial design of fashion show in 2015, involving a new collection in a British Modern Chic style fashion. The process is comprised of showpieces design concepts, elegant vogue and low-key luxury, along with a British chic visual setting. Plan modern atmosphere and show space imagery. The purpose is to promote brand image. Brand curatorial fashion show target is especially for brand exposure to the local fashion media and fashion celebrities.

Table 3. KERAIA curatorial design of fashion show in Mandarin Oriental, Taipei, 2015
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Table 4. The types of QUALIA elements and Participant Emotion definitions in 2015 KERAIA fashion show.
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Wide ranges of creativity were presented in the fashion show, sourcing from audiences, curators, and fashion designers. Their integration of performance strategy, theme, media application and originality form provided KERALA’s design for the 20th festival to become a truly unforgettable experience for participants. The types of QUALIA elements and Participant emotion definitions are summarized in Table 4. The KERAIA 2015 AW fashion catwalk show begins its performance through a symphony to exhibit light and sound sensation. Exhibition layout and design consists of British modern chic style. Activity flow and quality service prioritized to ensure delicacy perception in the fashion show. Delicacy atmosphere provides visual performances on the catwalk show. Perceived higher brand servicescape quality. KERAIA fashion show is summarized by affective attributes, attractiveness, style aesthetics, performance creativity, service delicacy, and space engineering. All of which are key factors that consumers seek when selecting brand name products. Customer relationship management, building brand image while maintaining VIPs feelings, is also very essential in becoming established among customers.

7 Conclusion

This article is to understand the process of how the “QUALIA” concept is formed in audience’s minds and how they estimate this “QUALIA”. Research is also trying to build a framework for the target audiences to calculate the qualia level of fashion show experience and services through S-O-R model literature review. These factors can also influence the comprehension of S-O-R model by participants and curators. Furthermore, we conclude this study of applying QUALIA in curatorial design in fashion shows.

  1. 1.

    For the audiences qualia perception and experiences:Creative Life Industry integrates experiences and quality aesthetics. The quality of the fashion show may be perceived as higher quality based on the environment in which the service is provided. An important role in guiding the fashion industry is to apply the concepts of the experience economy. In the fashion industry, curatorial design of the catwalk show should be expanded into a product that applies QUALIA into the designing experiences process such as Atmosphere building(topic attraction, design style, brand image, brand Equity), Sense-experiences (clothing style, exhibits design sense, sensory emotion, aesthetic appearance), Pleasant emotions (novelty, interesting, surprise, pleasure, sense of innovation), Practical functions (show service details, event space arrangement, external event planning, media exchanges PR), and Servicescape (field engineering experience, create an atmosphere of tonality, external environment planning). QUALIA in the fashion show relates to the performance effect in which the emotion expression embodies psychology and the consciousness.

  2. 2.

    For the Market-Industry functional responses:Based on the analysis above, the conclusion is that the TA is capable of internalizing the culture and creativity through building an atmosphere, storytelling, perceptual-space creating, or visual-experiences shaping from curatorial designs of fashion industry. In the fashion show emotion expression relates the performance effected, the emotion expression can embodies psychology and consciousness. According to this perspective, this study extends the view to explore the exhibition design of fashion industry activity by applying fashion art aesthetics, commercial functions, and the promotion of differentiation and specialization through the five aspects of QUALIA: attractiveness, beauty, creativity, delicacy, and engineering. This conclusion can serve as a reference for future interests in applying QUALIA to enhance industrial competitiveness.

This article demonstrates an established QUALIA curatorial fashion show model and can be utilized as a valuable reference when designing a cultural creative experience. With the development of industrial tendencies, fashion industry companies gradually realize that the keys to product innovation are not solely depend on market and technology aspects, but should also improve service innovation. Fashion brands are more focused on adapting with consumers by discovering ways to create new experiences and establish value. The KERAIA QUALIA fashion exhibition contributed a deep understanding regarding the link between target audience behaviors and new methods of interpreting specific features responses in the fashion show exhibition.