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The purpose of this chapter is to explore the differences in consumers’ willingness to pay for different types of design attributes due to different levels of specific anticipatory emotions evoked by them. The research aims to show how firms can benefit by leveraging the findings that different types of design attributes – that is, functionality, aesthetics, and environmental sustainability – affect profit margin per unit differently. Further, the chapter claims that design is a core competency that can pay dividends in terms of profit margins for firms. It is important for firms to develop expertise in understanding and leveraging relationships between the types of design attributes, specific emotions, and consumers’ willingness to pay.

The chapter uses the product categories of cell phones and laptop computers in the three experiments to test the hypothesized relationships between design attributes (functionality, aesthetics, and environmental sustainability), specific emotions, and willingness to pay.

The research finds that different attributes of design – functionality, aesthetics, and sustainability – evoke different types of emotions and different levels of willingness to pay.

The data were primarily collected via experiments in a behavioral laboratory.

Firms can leverage different attributes of design to position and price products according to emotional requirements of the target customer segment to match their willingness to pay and maximize profit margin per unit.

The research specifically measures willingness to pay in joint presentation – independent evaluation scenarios to assess differences in how functionality, aesthetics, and sustainability impact willingness to pay.

Mastering aesthetics is a precious source of competitive advantage in creative industries. In fashion, innovation is reflected by how and how much styles change. Elite designers claim to be the only endogenous force shaping fashion innovation season by season. Yet, each season, fashion critics vet the new collections these designers introduce, assessing what is original as opposed to reworked and uninspired, in this way playing a fundamental role as gatekeepers in setting taste within the industry. In this research, we document how stylistic innovation, vis-à-vis the styles premier design houses introduced each season, is impacted, among the others, by the specific exogenous force of critics' assessments of designers' past work. Our data, which include 61 measures detailing the styles introduced by 38 prestigious Italian and French design houses over a nine-year period, suggest designers move further away from styles reviewed less favourably while adhering more closely to styles reviewed more positively. Additionally, the styles a designer introduces are shown to depend on critical assessments of competing designers' styles, revealing how design houses attend to each other's work. This work documents the strong correlation between style dynamics and critics' feedback. It also has important implications for any company trying to find a balance between independence and conformity in setting its own unique positioning into the market.

Purpose – This chapter provides a critical review of the emerging field of consumer experience and experiential marketing.Design/methodology/approach – We review definitions, perspectives, and key research areas on the topics of consumer experience, product and service experiences, off-line and online experiences, as well as consumption and brand experiences. We report empirical findings, seminal studies, and insight into the experience process (e.g., how consumers process experiential attributes, how they process experiences over time, and whether positive and negative experiences can co-occur). We present research on experiential dimensions, experiential themes, and the nature of extraordinary experiences.Value/originality – The chapter provides value by discussing the key measurement and marketing management issues of experiential marketing and discusses the original issue whether it is rational for consumers to include experiences in their decision making.

Tourism research has been largely unconcerned with the aesthetic dimension, although few attempts have recently begun to surface. In this chapter, the authors highlight a multifaceted process of incorporating aesthetics in tourist experience design, based on a three-level framework for theming. The first level is based on aesthetic features of destinations as atmospherics. The second level deals with multisensory atmospherics, transcending the mere visual focus of the tourist gaze. Key experiences of the beautiful, sublime and picturesque are deeply embedded in visual, somatic, olfactory, auditory and gustatory decoding of aesthetic markers. The third level deals with the human factor in atmospherics, particularly focussing on the role of residents. Through a discursive lens, local people are simultaneously identified as sources, co-creators and beneficiaries of aesthetic environments. Thus, the chapter hopes to open possibilities for exploring experiences of atmospherics (including aesthetics) through a dialectic approach.

The study applies a multimodal approach to position aesthetic innovation, i.e., the strategic use of aesthetic design attributes, such as color and shape, as an institutionalized aspect of competition, rather than as a firm-specific differentiation strategy, in settings that favor the symbolic meanings of products. Empirically, the study offers a detailed case study of the personal computer (PC) industry to examine the institutionalization of aesthetic innovation as a dimension of competition across industrial firms. The study examines the color and shape of PCs over the 1992–2003 period and situates changes to these attributes in the competitive conditions that characterized the industry, paying particular attention to the introduction of the Apple iMac in 1998. Furthermore, it examines the discursive manifestations of aesthetic innovation by content analysis of reviews of PCs and interviews with industry executives. Findings demonstrate that, in a period coinciding with a decline in demand for PCs and an overall mature market as well as with the introduction of the iMac, the majority of firms engaged in aesthetic innovation and used a greater number of aesthetic words in describing their PCs.

Social media influencers increasingly determine what is fashionable. By creating and sharing visual contents, predominantly on Instagram, they shape what social media users see and aspire to. Their contents reflect Instagram esthetics and their own personal brands. This chapter argues that their visuals also represent emerging visual practices and styles that are typical of influencers and transcend fashion and tourism contexts. Using a netnographic approach, this chapter examines Instagram posts of 20 tourism and fashion mega-influencers. It finds common practices but also identifies differential ways in which fashion and tourism visuals are constructed. This chapter highlights how the subjects have intertwined, especially when it comes to influencers.