文創品牌新商業模式探討：以「米錄MILU」為例
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2020
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Abstract
近年來文創產業蓬勃發展，在旅遊市場中的傳統紀念品已經無法滿足現代人的需求，逐漸失去市場競爭力，相較於文化力淺薄的傳統紀念品，人們更偏愛有創意、有設計感、有故事性的文創商品。市場需求又更加促使旅遊市場的傳統紀念品轉型升級為文創商品，然而文創商品的設計、開發門檻比一般商品要高許多，必須找到對的設計方法才能創造出受市場歡迎的文創商品，在競爭激烈的市場下存活發展。臺灣文創品牌大多是小規模工作室的型態，對於多數微型公司的文創品牌而言，要如何在有限的資源下建立新的商業模式，開拓新市場，並且創造出經濟規模而能達到永續經營的目標。本研究將對文創品牌米錄「MILU」進行個案研究，探討其在台灣市場發展創立品牌成功的因素，進而歸納研究出文創品牌的新商業模式。
In recent years, the cultural and creative industry has flourished. Traditional souvenirs in the tourism market have been unable to meet the needs of modern people and gradually lose market competitiveness. Compared with traditional souvenirs with less cultural connotation, people prefer creative, design, story-based cultural and creative goods. Market demand promotes the transformation and upgrading of traditional souvenirs into cultural and creative products. However, the threshold for the development of cultural and creative products is much higher than that of general products. We must find the right method to create cultural and creative products that are welcomed by the market and survive and develop in a highly competitive market. Most of the cultural and creative brands in Taiwan are small-scale studios. For these brands, it is imperative to find out how to establish a new business model with limited resources, open up new markets, and create an economic scale to achieve the goal of sustainable operation. This study will conduct a case study of MILU, a cultural and creative brand, to explore the factors that have contributed to the success of its brand development in the Taiwan market, and then to summarize and study the new business model of thecultural and creative brand.
In recent years, the cultural and creative industry has flourished. Traditional souvenirs in the tourism market have been unable to meet the needs of modern people and gradually lose market competitiveness. Compared with traditional souvenirs with less cultural connotation, people prefer creative, design, story-based cultural and creative goods. Market demand promotes the transformation and upgrading of traditional souvenirs into cultural and creative products. However, the threshold for the development of cultural and creative products is much higher than that of general products. We must find the right method to create cultural and creative products that are welcomed by the market and survive and develop in a highly competitive market. Most of the cultural and creative brands in Taiwan are small-scale studios. For these brands, it is imperative to find out how to establish a new business model with limited resources, open up new markets, and create an economic scale to achieve the goal of sustainable operation. This study will conduct a case study of MILU, a cultural and creative brand, to explore the factors that have contributed to the success of its brand development in the Taiwan market, and then to summarize and study the new business model of thecultural and creative brand.
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文創產業, 文創品牌, 文創商品, 商業模式, cultural and creative industry, cultural and creative brands, cultural and creative goods, business model