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The primary purpose of this study is to investigate the influence of tourists' perceived value, satisfaction and behavioral intention on the development of Lipu Yi costume culture to promote the development of intangible cultural tourism and better construct a model of the influencing factors of Lipu Yi costumes in the development of intangible cultural heritage tourism.

The study site is the intangible cultural district of Panzhihua, Sichuan Province, China. This study examines the interrelationships between tourists' perceived value of experience, behavioral intention and satisfaction as the tourists relate to Lipu Yi costume and intangible cultural heritage tourism. A sample of 225 tourists who had visited Panzhihua at least once was selected for the study.

All seven of the survey's hypotheses were supported. Therefore, this study concludes that tourists' perceived value, satisfaction and behavioral intention directly affect the development of intangible cultural tourism and significantly positively impact the growth of Lipu Yi costumes culture. Descriptive analysis, confirmatory factor analysis (CFA) and structural equation modeling (SEM) investigation methods were used.

This paper analyzes tourists' perceived value of Lipu costume culture and tourists' satisfaction and behavioral intention during the tourism process. This study provides a more in-depth understanding of the relationship between Lipu Yi costume and non-heritage tourism factors. Practical methods and approaches are sought to further develop Lipu Yi costume non-heritage tourism.

This article examines curatorial practices, both traditional and digital, in the Guizhou Provincial Museum’s ethnic exhibition to assess their effectiveness in representing ethnic minority cultures, fostering learning and inspiring curiosity about ethnic textiles and costumes and associated cultures. It also explores audience expectations concerning digital technology use in future exhibitions.

A mixed-methods approach was employed, where visitor data were collected through questionnaires, together with interviews with expert, museum professionals and ethnic minority textile practitioners. Their expertise proved instrumental in shaping the design of the study and enhancing the overall visitor experience, and thus fostering a deeper appreciation and understanding of ethnic minority cultures.

Visitors were generally satisfied with the exhibition, valuing their educational experience on ethnic textiles and cultures. There is a notable demand for more immersive digital technologies in museum exhibitions. The study underscores the importance of participatory design with stakeholders, especially ethnic minority groups, for genuine and compelling cultural representation.

This study delves into the potentials of digital technologies in the curation of ethnic minority textiles, particularly for enhancing education and cultural communication. Ethnic textiles and costumes provide rich sensory experience, and they carry deep cultural significance, especially during festive occasions. Our findings bridge this gap; they offer insights for museums aiming to deepen the visitor experiences and understanding of ethnic cultures through the use of digital technologies.

The main purpose of this study is to analyze how consumers’ visual attention to wine label design correlates with their preferences. Accordingly, this study uses quantitative eye-tracking metrics to understand which design proposal has greater visual salience. A more specific objective was to assess which design proposal was preferred to be marketed.

The experiment involved evaluating of three different labeling proposals of an Italian winery. Infrared eye-tracking was used to measure implicit eye movements on the three bottles displayed, simultaneously, on a computer screen. A generalized linear model was used to test how consumers' visual attention to wine label design correlated with their preferences.

The design proposals were evaluated significantly differently, with one set being preferred. In general, a strong positive relationship was found between pausing to peruse a specific design proposal and making an explicit choice of the same bottle.

The main limitation of the experiment concerns the sample interviewed. As the sample is homogeneous, the results may not be generalizable to other segments. Furthermore, the addition of electroencephalographic devices that monitor brain activity could provide crucial information for understanding consumer behavior during the purchase decision-making process.

Eye-tracking methods could be useful for designers and wine producers during the evaluation process of design projects.

The use of eye-tracking for evaluating design proposals before placing a product on the market is relatively novel. This method provides objective, quantitative and predictive information on consumer preferences contributing guidelines to designers and marketers during the product conception phase.

The purpose of this paper is to construct a digital collection and database of traditional clothing that is convenient for the digital dissemination and application of traditional clothing and provide resources for research on clothing fashion, traditional clothing techniques, clothing culture, history and clothing teaching.

A real object analysis method was used in this paper, based on 15 core elements of the internationally common DC metadata standard, and with consideration to the characteristics of clothing products and clothing industry application specifications, the core elements of DC are expanded to facilitate the detailed record of the characteristic information of clothing, especially the implicit clothing culture. A code symbol compilation method was developed to give each piece of clothing a unique number, facilitating identification, classification and recording. At last, a metadata construction scheme for traditional clothing was developed. A traditional embroidered children's hat and Mamianqunt serve as examples to demonstrate the metadata elements.

The clothing meta-database provides a main body of traditional clothing while also paying attention to the collection of cultural elements. It is composed of five layers of classified data, source data, characteristic data, connotation data and management data, as well as 28 data elements, providing ease of sharing and interoperation.

This paper expands the subset of fashion metadata by describing traditional clothing metadata, especially the excavation of clothing cultural elements, and developing code compilation methods so that each clothing product can obtain a unique identification number, thereby building a traditional clothing metadata construction scheme consisting of five data layers and containing 28 data elements. This scheme records the information about each layer of traditional clothing in detail and provides shared data for discipline research and industry applications.

Fans are proactive consumers of pop culture products, who can be seen as prosumers. Fanvideo production is one of their most widespread practices in the participatory culture scenario. Thus, the aim of the present study is to analyze how ludic prosumption is featured on plays performed in Brazilian fanvideos based on successful pop culture franchises.

Research based on the interpretive content analysis of fanvideos of plays produced by Brazilian fans based on five emblematic pop culture franchises and published on YouTube.

Results have shown six play types in the analyzed fanvideos – i.e. child's play, performing powers, cosplay, play in social rites, teaching to play and “zuêra” –, which revealed a way of having fun in different situations through different practices based on ludic consumption experiences in different spheres of social life.

CCT-based studies focused on investigating plays as ludic consumption phenomenon, as well as fan culture, remain at early research stage. Thus, the main contribution of the present study lies on associating such concepts based on the concept of prosumption.

Organised crime, including drug trafficking groups, are often thought of as male-dominated industries. However, even when leveraging romantic or kinship ties, women can be active participants and exert influence in the business operations of these groups. Based on interviews with Mexican and Japanese government officials, indictments, and investigative journalism, this chapter compares the notorious and long-lived Mexico-based Sinaloa drug trafficking group and the Japanese Yakuza Yamaguchi-gumi organisations. It shows that despite substantial differences in their criminal activities as well as the illicit markets in which they operate, women perform active roles along the supply chains. Furthermore, it shows that despite constructions of gender roles that see women as intruders in organised crime, women attain positions of authority even when their membership is not always formally recognised.

There is growing scholarly discourse towards COVID-19 pandemic and creative entrepreneurship in the perspectives of Global South. Extant literature lacks sufficient empirical evidence on the subject matter. This paper therefore provides insights into business models and business model shifts in response to the COVID-19 pandemic among creative entrepreneurs in Ghana.

In working towards achieving the purpose of the study, a qualitative design was deployed. Four artistic communities in three regions were understudied. The study conducted working interviews, Focus Group Discussions and field observations on the creative entrepreneurs.

The results showed a unique business model that captured ministries, agencies and departments; traditional authorities, foreigners and the diaspora community as key creative partners. The creative entrepreneurs equally proposed value via quality deliveries, attractive pattern mix, pure handy crafts, mart finishing, imbibing culture into productions and symbolic meanings. Their key activities include cutting and gluing, sewing and coloring, sketching and prototyping, annual Kente festivals, film shooting and editing. The creatives stream revenue through sales, advances, profit margins, contracts, gate proceeds, loans, friends and family support. The results also point at a regime of business model shifts among the creatives, deploying digitalization and diversification in response to the COVID-19 pandemic.

The research by design is limited to the qualitative tradition; despite knowing well about the quantitative approach that could have provided a wider scope and coverage for effective generalizability. Certainly, it would be of future research interest to design a comparative mix-method study to achieve a wider coverage feat. Indeed, the paper does achieve the goal of providing an original empirical account, hence making a valid contribution to knowledge in the area of study.

The knowledge on demystified business models relative to the Ghanaian creative entrepreneurs has practical implications for practice: first, it generates a ground-up knowledge as to what creative entrepreneurial business models are, why they exist and exactly how to create one in a Global South perspective.

These creative business models and the COVID-19 induced model shifts among the Ghanaian creative entrepreneurs imply continuous creative livelihoods, sustainable business models and assurance for innovation in creative entrepreneurship space.

The study is of high scientific value, creative entrepreneurial essence and public interest to better demystify creative entrepreneurial business models and theoretically framed them. It offers strong empirical evidence on COVID-19 induced business model shifts. These creative business models and the COVID-19 induced model shifts among the Ghanaian creative entrepreneurs imply continuous creative livelihoods, sustainable business models and assurance for innovation in creative entrepreneurship space.

This viewpoint is a response to Yeoman's (2022) editorial on Sunderland AFC and the future of tourism. This viewpoint aims to outline the lessons one can learn from Star Wars about the future of tourism.

The paper reviews the live-action movies and series of the Star Wars franchise.

The paper derives specific conclusions in the following directions: the future technology in travel, tourism and hospitality; the tourists' motivation and behaviour; the management of travel, tourism and hospitality companies; destination management; economy and society and lessons from the franchise.

This is one of the first papers to elaborate on the lessons one can learn about the future of tourism from the Star Wars live-action movies and series.