An investigation into the effects of product design on incremental and radical innovations from the perspective of consumer perceptions: Evidence from China

Abstract

By integrating research on product design with ideas from marketing and consumer perceptions, this paper formulates a set of coherent hypotheses about the effects of tripartite design dimensions on consumer perceptions and responses. We conduct two surveys on incremental and radical technology innovations, respectively, and accordingly get two different samples to test the hypotheses. Empirical results reveal that the effects of aesthetic and functional dimensions on consumer purchase intention and word of mouth vary across two types of innovations. Specifically, for incrementally innovative products, aesthetic and functional dimensions influence consumer purchase intention and word of mouth, both directly and indirectly, through the mediation of consumer perceived quality. By contrast, for radically innovative products, the effects of aesthetic and functional dimensions on purchase intention and word of mouth are totally mediated by perceived quality. Additionally, the effects of symbolic dimension on consumer perceptions and responses achieve consistency across radical and incremental technology innovations. That is, the higher the level of symbolic dimension, the stronger purchase intention and the better word of mouth there will be, whereas the direct influence of symbolic dimension on perceived quality is not significant in either innovation category.

Selling cool: a visual analysis of Apple's brand identity

“…Design is considered to be an integral characteristic of a product, critical to marketplace success and consumer approval (Bloch, 1995;Liu et al, 2017). Good product design attracts customers, adds value by making users' interactions with the product more positive, and helps the consumer believe that the product is of higher value (Blosh, 1995;Xue, 2019).…”

“…Blosh (1995) suggests that a product's appearance is a major indicator of how well it will do on the marketplace. In short, good design draws attention and suggests a better user experience than other options on the market and consumers are more likely to purchase a product that looks cool based on aesthetic value (Blosh, 1995;Xue, 2019). This is what Liu et al (2020) consider to be 'design novelty,' or the degree to which the design of a new product deviates from others on the market.…”

“…Blosh (1995) finds that the ideal design draws positive associations, emotions, and responses from consumers. It does more than simply foster attention; a well-designed product will also increase consumers' perceptions of quality, make them more likely to purchase the product, and more likely to recommend it (Xue, 2019). In fact, Hedman and Gimpel (2010) identified the unique design of the original iPhone in 2007 as responsible for much of the product's hype prior to its worldwide release.…”

“…Blosh (1995) notes that consumers view products and their brands based on how they are displayed in a retail setting. Apple has come to be known for its tailored branded shopping experience, helping consumers make positive brand associations with its products and by appealing to consumers' emotions (Xue, 2019). With the unveiling of its brick and mortar Apple stores (iStore) in 2001, Apple could interact directly with consumers and build and share its brand mystique (Gehani, 2016).…”

“…Therefore, brands are forced to find other ways to maintain the purchasing cycle (Xue, 2019). Gehani (2016), however, points out the risk in simply promoting perceived innovation over actual innovation, as brand reputation will suffer if a product does not fulfil its promises.…”