1. Introduction

In the context of China's “14th Five-Year Plan for Cultural Industry Development,” which explicitly advocates for the integration of digitalisation and industrialisation in the cultural industry, museums and cultural heritage sites have emerged as a pivotal policy and practical direction. These institutions have been instrumental in catalyzing cultural consumption through the implementation of creative design. In the context of the policy initiative, museums and heritage sites throughout the country have introduced a range of creative products, with the objective of stimulating consumer demand through the integration of innovative designs with a profound cultural foundation. As the cultural industry continues to flourish, these products have emerged as vital conduits of cultural heritage and innovation. Indeed, they have become a pivotal element within the consumer market due to their innovative formats, rich content, and extensive appeal [1]. However, beneath the surface of industrial prosperity, deep-seated structural challenges have become increasingly evident. Issues such as product homogenization, superficial symbolic replication, and a lack of substantive innovation are widespread, leading the market into a predicament of “high cultural value, low market conversion.” In order to identify the underlying causes, this study conducted a preliminary survey of consumers in cultural and creative spaces across multiple museums in Shaanxi Province. Furthermore, a significant proportion of respondents identified current products as suffering from “symbolic clutter” and “lack of practicality.” It is noteworthy that homogenization has accelerated consumer interest decline by approximately 42% compared to conventional goods. This predicament underscores the existing model's notable deficiencies in eliciting profound consumption aspirations and expediting the economic conversion of cultural value. These practical challenges reveal critical gaps in academic research regarding the mechanisms of cultural and creative consumption behaviour.

Whilst the Customer Perceived Value (CPV) theory provides a classic framework – “perceived value→satisfaction→purchase intention”–for understanding general product purchase intentions, its direct application to cultural and creative products faces theoretical limitations in explanatory power. The crux of the issue pertains to the inability of the conventional CPV framework, which places significant emphasis on the functional, emotional and social value dimensions, to adequately capture the dual nature of cultural and creative products as both “cultural carriers” and “creative commodities.” Existing research frequently exhibits three major limitations: Firstly, the absence of value dimensions is evident. Current frameworks place excessive emphasis on generic value indicators, such as the five-dimensional model of function/ emotion/ society/ cognition/ condition proposed by Sheth et al. [2]. However, this approach overlooks the distinctive “cultural decoding needs” of cultural and creative products. When consumers evaluate a notebook featuring bronze artifact patterns, their assessment involves not only paper quality (functional value) or esthetic experience (emotional value), but also the need to interpret the deeper meaning of cultural symbols. This “cultural perception” is in fundamental opposition to the symbolic value of traditional commodities. Second, the mediating mechanism remains unclear: While existing research suggests customer satisfaction (CS) mediates the relationship between perceived cultural value (CPV) and purchase intention (PI) [3], it fails to address the unique situational effects of cultural and creative products. Moreover, although most scholars incorporate social value into the CPV framework, empirical evidence regarding whether cultural product purchases are driven by “social image enhancement” or “cultural identity” remains scarce [4]. Survey data reveals that among customers of the Palace Museum's cultural and creative flagship store, 38% of repurchases stem from the psychological motivation of “completing cultural narratives,” suggesting that the academic community should re-examine the nonlinear pathways through which cultural identity influences satisfaction formation. Third, insufficient localization adaptation: Western-dominated value scales [5] struggle to capture Chinese consumers “gift-giving situational preferences.” Data from the Shaanxi History Museum shows that 65% of cultural and creative products are sold as souvenirs, where the core of social value is not personal image building but “cultural capital transmission,” which significantly deviates from the definition of social value proposed by Hollenstein and Colasante [6]. Existing models have thus far been unable to identify which specific value dimensions are not being effectively transmitted, leading to “obstructions” in the chain from cultural identity to purchase decisions. Furthermore, the CPV framework, which is derived from Western consumption contexts [5], has been shown to have limitations in its ability to adapt to local contexts when explaining the unique “cultural inheritance” motivations and “gift context” preferences of Chinese consumers. In this context, the exploration of the mechanisms underpinning cultural product consumption behaviour has emerged as a pivotal area of shared concern within both academic and industry circles.

In order to address the aforementioned theoretical challenges, this study systematically expands the Customer Perceived Value (CPV) theory to develop an integrated framework for analysing cultural and creative products. The framework combines two core dimensions – ‘cultural perception’ and ‘innovation perception’ – and empirically validates its pivotal role in the ‘perceived value → customer satisfaction → purchase intention’ pathway. This generates three theoretical contributions. Firstly, this study achieves a groundbreaking extension of theoretical frameworks in the value dimension. The present study proposes and validates that “cultural perception” and “innovation perception” constitute independent and pivotal value dimensions driving cultural and creative consumption, thus transcending the conventional paradigm of CPV models that primarily rely on functional, emotional, and social values. The former measures consumers depth of interpretation and identification with embedded cultural symbols in products, while the latter evaluates their perception of design's creative transformation. This research signifies a paradigm shift from a general model to a culturally specific framework for consumption analysis. Secondly, this study elucidates the complete mediating pathway of cultural value transformation in terms of its mechanism. Utilising structural equation modelling, we systematically examined the driving effect of the extended CPV framework with new dimensions on satisfaction, rigorously verifying the mediating role of satisfaction between perceived value and purchase intention. The particular significance was the quantification of differential impact weights across value dimensions, which revealed a hitherto unacknowledged key mechanism: that profound cultural value cannot directly translate into purchasing behaviour. Instead, it is necessary to stimulate consumers holistic satisfaction experience to achieve effective conversion. This provides a precise theoretical explanation for resolving the industry paradox of “high cultural value, low market conversion.” Thirdly, it provides empirical guidance for localized design strategies in practical contexts. The study draws upon the established cultural consumption paradigms of China, asserting that efficacious cultural and creative development must transcend mere superficial symbolic transplantation. The core strategy underpinning this approach involves the enhancement of cultural elements through innovative design, and the facilitation of the interpretation of cultural significance via situational narratives. This dual objective is intended to simultaneously drive consumers cultural identity and their innovative appreciation. This offers practitioners a practical framework for transitioning from the initial stages of value creation and transmission to the subsequent phase of value realization, thereby facilitating the transformation of cultural resources into market-compliant products.

2. Theoretical basis and literature review

The term “perceived value” is employed to denote the balance between benefits and costs that is perceived by consumers when purchasing a product [7]. A multi-dimensional analysis of psychological factors influencing consumer decisions has been developed by scholars, forming the core of the Perceived Value Theory. Despite the fact that this categorization approach has gained widespread academic recognition, variations emerge across research domains. For instance, Sheth et al. [2] investigated how social, emotional, functional, cognitive and situational factors influence the decision-making stages prior to and following purchases. The PERVAL scale, developed by Sweeney and Soutar [3], refined its dimensions into four operational categories: social value, emotional value, functional quality, and price value (see Fig 1). This framework subsequently became a widely adopted foundational tool in empirical research. These classic models form the theoretical basis for understanding the “perceived value-satisfaction-purchase intention” chain mechanism in general commodity consumption. These classical models constitute the theoretical foundation for understanding the chain mechanism of “perceived value-satisfaction-purchase intention” in general commodity consumption. In the context of the cultural and creative industries, scholars have endeavored to implement the CPV framework within this specialised domain. There is a broad consensus that the evaluation of the economic worth of cultural and creative products cannot be constrained by conventional functional categories. For instance, Gounaris et al. [8] proposed a six-dimensional model encompassing product, process, humanistic, emotional, social value, and perceived sacrifice, demonstrating its positive correlation with satisfaction. As Shu and Shao [9] emphasised, innovation, education and the experiential dimensions are of importance in the context of cultural consumption. Chen and Lei [10] proceeded to provide a more explicit introduction to the “cultural value” dimension. The extant literature suggests that high-quality cultural and creative products generally establish a symbiotic value relationship characterised by “functional foundation, cultural experience, and emotional connection” [11], driving the industry's transition from souvenir sales to cultural services.

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Fig 1. Basic attributes of perceived value.

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However, the direct application of the CPV framework derived from traditional commodities to cultural and creative products reveals fundamental theoretical contradictions. The fundamental issue pertains to the irreconcilable conflict between static, universal value dimension classifications and the dynamic, context-dependent nature of cultural and creative consumption. Firstly, while extant research has expanded the dimensionality of the model. For example, Sheth et al. [2] incorporating contextual value and Sweeney and Soutar [3] optimizing operational feasibility – the dimensional system still fails to adequately account for the structural influence of cultural fields on value construction. The value of cultural and creative products is derived not only from their practical functions (functional value) or social recognition (social value), but more fundamentally from their significance as cultural symbols Peris-Ortiz et al. [12]. As Borisova [13] highlighted, the added value of these products is contingent not on the labour input involved in their production, but rather on consumers subjective evaluation of how well they meet their personal cultural needs. This evaluation is closely tied to consumers ability to interpret and resonate with the “cultural codes” embedded in the product, a dimension that traditional frameworks fail to capture. Secondly, cultural and creative products possess a dual value generation mechanism in that they serve as both carriers of cultural meaning and products of innovative design [14]. The symbolic and creative nature of these systems [15] constitutes their fundamental characteristics.Whilst extant CPV frameworks offer partial explanations of the practical (functional value) and self-pleasure (emotional value) dimensions, they systematically overlook two critical value sources: The terms “cultural interpretation” and “innovation appreciation” are defined as follows: For instance, although research on museum cultural and creative products has addressed factors like emotional resonance, aesthetic value, and cultural connotation [16],these aspects remain fragmented across different dimensions [17]. Theoretical integration and elevation of these elements into core CPV components have yet to be achieved.

The theoretical contradictions previously referenced manifest in practice as an industry paradox characterised by “high cultural value but low market conversion,” accompanied by significant challenges such as product homogenisation and symbolisation (as evidenced by museum cases in Shaanxi, Liaoning, and other regions). Despite the exploration of purchasing factors from a consumer perspective by scholars (e.g., authenticity and hedonism [18], or the integration of cultural elements through models [19], the majority of studies continue to treat culture or innovation as external contexts or marketing elements rather than intrinsic dimensions of value perception [20]. This approach, however, does not adequately address the fundamental question of whether the use of these materials is beneficial or detrimental to the learning process. Which unique value perception dimensions directly drive satisfaction and purchase intention in cultural and creative consumption?

Consequently, traditional CPV models face dual limitations in the cultural and creative sector: The terms “cultural absence” and “innovation absence” are employed. In order to address these challenges, it is essential to make targeted adjustments and undertake systematic restructuring of theoretical frameworks. Addressing this gap, the present study proposes integrating “cultural perception” (measuring depth of interpretation and identification with cultural symbols) and “innovation perception” (evaluating appreciation of creative design transformations) as core dimensions into the CPV framework. This integration is not merely an addition, but rather an attempt to construct a unified model that simultaneously encompasses both the “cultural carrier” and “creative product” attributes of cultural and creative goods. The objective is to more accurately reveal their value generation and transformation mechanisms, thereby establishing a new theoretical foundation for understanding consumer behaviour [21] and providing design optimisation recommendations [22].

3. Research hypotheses

3.3. Mediating role of customer satisfaction

Saha et al. [36] demonstrated that online shopping intention is significantly influenced by purchase experience and customer satisfaction, with satisfaction serving as a mediating variable. The fundamental dimensions of perceived value typically include functional factors such as product quality, cost-effectiveness, and practicality. When consumers perceive cultural and creative products to meet or exceed expectations in these fundamental attributes (e.g., high-quality materials and reasonable pricing), it directly enhances satisfaction. As satisfaction functions as a psychological feedback mechanism, it further reduces perceived decision risk and strengthens purchase intention. For instance, when purchasing stationery, consumers may develop satisfaction due to “good value for money” when the writing function is stable and the design practical, leading to increased willingness to repurchase or try other products from the same brand. Consequently, the transformation of functional value into behavioral tendency via emotional cognition is consistent with the theoretical framework of “perceived value → emotional attitude → behavioral intention.” The following hypotheses are thus proposed:

H5: Customer satisfaction mediates the relationship between perceived value and purchase intention;

H5a: Customer satisfaction mediates the relationship between functional quality value and purchase intention;

H5b: Customer satisfaction mediates the relationship between functional price value and purchase intention;

H5c: Customer satisfaction mediates the relationship between emotional value and purchase intention;

H5d: Customer satisfaction mediates the relationship between social value and purchase intention.

Perceptual innovation is reflected in consumers recognition of the uniqueness, novelty, and creative expression in cultural and creative products. In accordance with the diffusion theory of innovation, innovative attributes have the capacity to stimulate curiosity and the desire to experiment; however, these attributes must be mediated through satisfaction in order to translate into actual purchasing intent. For instance, if a cultural product demonstrates breakthroughs in design, technology, or cultural integration (such as combining augmented reality technology with traditional craftsmanship), consumers will develop an initial interest due to “novel experiences.” However, should the product prove satisfactory during its utilization, satisfaction levels are known to increase significantly, thus encouraging repeat purchases and positive word-of-mouth promotion. As Saha [36] observed, the assertion that “experience influences satisfaction” is consistent with this rationale. Innovation must be filtered through satisfaction to circumvent the adverse effects engendered by “curiosity followed by disappointment”.

H6: Customer satisfaction mediates the relationship between perceptual innovation and purchase intention;

The concept of cultural perception in the context of consumer behavior refers to the recognition by consumers of the cultural essence, historical connections, or identity symbolism that is embedded in cultural and creative products. As the fundamental characteristic of such products, cultural attributes may primarily influence purchase intentions through emotional resonance and satisfaction mediation. For instance, the procurement of Palace Museum-themed merchandise may be enhanced by designs that accurately convey traditional cultural quintessence, such as symbolic patterns and narrative contexts. These designs have the potential to evoke cultural pride and a sense of belonging, thereby enhancing satisfaction. Conversely, high satisfaction has been shown to reinforce consumers respect for cultural values and to support the encouragement of emotional connections through purchases. This finding is consistent with Dash's [34] theory of “cultural identity driving loyalty,” which posits that cultural attributes must be translated into sustained purchasing intent through satisfaction. It is proposed that the following hypotheses be put forward on the basis of the analysis that has been conducted.

H7: Customer satisfaction mediates the relationship between perceptual culturality and purchase intention.

Based on the above analysis, the theoretical model is shown in Fig 2.

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Fig 2. Perception value equation model.

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4. Research design

4.1. Questionnaire design and data collection

4.1.1. Questionnaire design.

The questionnaire, which was designed for the purposes of this study, comprises 38 items, the majority of which primarily investigate consumers’ basic personal information and their willingness to purchase cultural and creative products. In relation to the scale design for measuring consumers’ purchasing intention, this paper draws upon extant academic research findings and establishes eight dimensions [2,3,31,36], including functional quality, value, functional price value, and emotional value. The dimensions under scrutiny encompass 26 observation variables, with the utilisation of Likert 7-point scales for the purpose of dimension scoring. The specific measurement items are shown in Table 1.

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Table 1. Dimension division and measurement item setting of the scale.

https://doi.org/10.1371/journal.pone.0343563.t001

4.1.2. Sample characteristic distribution.

The present study conducted a pilot survey from 3^(rd) April to 15^(th) April 2025, focusing on four dimensions: fundamental characteristics of cultural and creative products, unique attributes of these products, customer satisfaction, and purchase intention. Following the identification of issues during the pilot phase, the questionnaire was revised and refined. The formal survey was conducted from April 20 to May 10, 2025. It is important to note that, due to the feasibility of the study and the availability of resources, this research employed convenience sampling, selecting multiple museums in Xi'an and Baoji cities, Shaanxi Province, as study sites. A total of 333 valid questionnaires were collected, achieving a 93.8% response rate. The descriptive statistics of the sample demographics are presented in Table 2.

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Table 2. Descriptive statistics of samples.

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4.2. Credibility and validity analysis

In order to ensure the reliability and validity of the proposed scale, this study conducted a reliability and validity analysis using SPSS 25.0 software, with specific results shown in Table 3. The Cronbach’s α coefficient is a measure of internal consistency across dimensions. A higher Cronbach’s α value is indicative of enhanced internal consistency, with coefficients exceeding 0.7 typically deemed reliable. As demonstrated in Table 3, the Cronbach’s α values for each dimension range from 0.804 to 0.925, while the overall Cronbach’s α coefficient reaches 0.918, thus demonstrating excellent internal consistency. Furthermore, the KMO value is 0.884, and the Blattlett test demonstrating significant p-values (Sig. < 0.05), thereby confirming the suitability of the sample data for factor analysis.

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Table 3. Results of scale reliability and validity analysis.

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The present study employs Structural Equation Modeling (SEM) for model validation, a technique that has the capacity to address latent variables, measurement errors and multiple relationships simultaneously. Initially, confirmatory factor analysis was conducted using Amos software to validate the model's validity. As demonstrated in Table 3, factor loadings ranged from 0.672 to 0.922, all exceeding the standard threshold of 0.5. This finding suggests that latent variables possess considerable explanatory power over measured variables, accompanied by reliable indicator reliability. The composite reliability (CR) values for each dimension ranged from 0.810 to 0.926, consistently above 0.7. The variance explained (AVE) values also fell within the 0.552–0.806 range, with all values exceeding 0.5. The findings, when considered collectively, demonstrate robust convergent validity and composite reliability across all dimensions.

The results of the discriminant validity test for each dimension of the scale are shown in Table 4. The square root values of the standardized correlation coefficients between each pair of dimensions are lower than those corresponding to the square root values of the AVE of each dimension. This indicates that the dimensions of the scale have good discriminant validity.

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Table 4. Validity test results of dimension differences in the scale.

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5. Empirical analysis

5.1. Model fitness test

The external validity of the constructed structural equation model (SEM) was evaluated by employing multiple indicators, including GFI, TLI, and RMSEA, to assess model fit. The specific test results are displayed in Table 5. The chi-square freedom ratio (X²/df) was 1.552, falling within the 1–3 range. The fit indices (GFI, CFI, and TLI) exceeded 0.9 (with values of 0.909, 0.969, and 0.963, respectively). The root mean square error of approximation (RMSEA) and the standardised root mean square residual (SRMR) were 0.041 and 0.044, respectively, suggesting that the overall model exhibited excellent fit.

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Table 5. Results of structural equation model fit test.

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5.2. Model path relationship test

The construction of a structural equation model of customers purchase intention was based on the theoretical framework of perceived value theory, as illustrated in Fig 3.

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Fig 3. Path coefficient diagram of customer purchase intention based on perceived value theory.

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The present study employed structural equation modelling to validate the pathways through which perceived value dimensions influence the purchase intention of cultural and creative products (see Fig 3). Initially, hypothesis testing was conducted (H1-H4) utilising the Amos software. As illustrated in Table 6, the reader will find path coefficients, significance levels, and hypothesis test results. The findings indicate that, in addition to social value, functional quality, functional price, emotional value, perceptual innovation, and perceived cultural value all significantly positively affect customer satisfaction and purchase intention. It is noteworthy that perceptual innovation (β = 0.221) demonstrates the most significant impact, even surpassing emotional value (β = 0.189). This finding is consistent with the mounting emphasis on “experience-driven” and “cognitive engagement” in contemporary consumer behaviour. Specifically, the standardized path coefficients for hypotheses H1a, H1b, H1c, H2, and H3 are all greater than 0 with P-values below 0.05, thus confirming statistically significant positive correlations. These results provide validation for hypotheses H1a through H3. However, the P-value for H1d (0.139) remains significantly higher than the 0.05 threshold, indicating that social value does not significantly predict customer satisfaction. The study further corroborates the notion that consumer satisfaction with cultural and creative products can significantly influence purchase intention, thereby validating hypothesis H4.

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Table 6. Results of hypothesis testing for SEM path relationships.

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On the one hand, the presence of varied experiences has the potential to counteract the issue of homogenisation. The integration of novel designs with multidimensional experiences, encompassing visual and interactive elements, has been demonstrated to elicit a heightened level of consumer curiosity. This, in turn, has been shown to activate brain reward mechanisms and facilitate the formation of enduring memory anchors. For instance, the Dunhuang Academy's “Digital Donor” project employs augmented reality (AR) technology to engage users in mural restoration, transforming static cultural symbols into interactive narrative scenarios that prolong user engagement. Conversely, the process of cultural encoding and decoding has been demonstrated to engender a state of mutual empowerment. Contemporary innovative cultural translation has been shown to convert obscure historical symbols into consumable symbolic capital, thereby allowing consumers to achieve intellectual fulfilment during decoding processes and form psychological compensation through “cultural knowledge growth”. This positive cycle of innovation and satisfaction establishes a new consumption paradigm driven by “cultural-technological dual-wheel propulsion.” Products have evolved beyond their practical functions, becoming cognitive carriers that embody cultural genes, stimulate creative potential, and connect intergenerational memories. This is precisely the hallmark of cultural consumption upgrades in modern society.

Furthermore, social value did not demonstrate significant influence in this study. This finding may be indicative of a shift in the cultural and creative consumption sphere, particularly among younger, more educated demographics, where the importance of personalised experiences, self-expression, and intrinsic cultural identity has superseded traditional motivations for social prominence and group affiliation. In contemporary society, consumers are increasingly prioritising cultural consumption as a means of enriching their personal world of meaning. This shift in focus is marked by a shift in perception, whereby cultural consumption is no longer primarily viewed as a tool for conveying social class symbols.

In order to verify further whether customer satisfaction plays a mediating effect on the influence of perceived value on purchase intention, the Bootstrap mediation effect test was used for verification. The results of the study are presented in Table 7.

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Table 7. Mediation tests based on customer satisfaction.

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As demonstrated in Table 7, the mediation effect of customer satisfaction on perceived value in Hypothesis H5 is statistically significant. The mediating effects for functional quality, functional price, and emotional value are 0.066, 0.072, and 0.075 respectively, with P-values below 0.05 at the 95% confidence interval. However, the mediating effect for social value is 0.040, with P-values above 0.05 at the same confidence level. The findings of this study corroborate Hypotheses H5a, H5b, and H5c, with the exception of the mediating effect on social value, as postulated by Hypothesis H5d. The results of Hypothesis H6 demonstrate a significant mediating effect (P < 0.005) between perceptual innovation and purchase intention, thus supporting Hypothesis H6. The results of Hypothesis H7 indicate a significant mediating effect (P < 0.002) between perceived cultural value and purchase intention, thereby confirming the hypothesis. The results of hypothesis testing are presented in Table 8.

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Table 8. Hypothesis test result.

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6. Research conclusions and deficiencies

In order to address the prevalent issues of homogenization, repetitive symbolism, and insufficient substantive innovation in cultural and creative products, this study establishes an integrative theoretical framework based on product value attributes, proposing a cascading mechanism: “perceived value → customer satisfaction → purchase intention.” The validity of this framework is validated through empirical testing of research hypotheses using structural equation modeling, which systematically reveals the underlying mechanism by which perceived value influences purchase intention through satisfaction. The study conducts an in-depth analysis of key factors affecting consumer purchase intention from both value attributes and product characteristics, thereby providing targeted recommendations for improving the development and marketing practices of museum cultural and creative products. The primary research findings are as follows:

1. (1). The H1a and H1b results demonstrate that the quality and price of cultural and creative products significantly impact customer satisfaction, indicating that consumers prioritize cost-effectiveness and functional practicality when purchasing such items. Contemporary young consumers have evolved their expectations regarding products from merely pursuing cost savings to meeting fundamental quality standards. These include tactile comfort, material safety, and esthetic craftsmanship, reflecting diversified value preferences. Consequently, while preserving artistic and visual appeal in cultural and creative product design, priority should be given to ensuring functionality and quality.
2. (2). The H1c hypothesis demonstrates that the emotional value of cultural and creative products can significantly enhance customer satisfaction. When considering this dimension, designers should incorporate their unique characteristics and symbolic elements into product design, enabling consumers to develop emotional resonance with the products during usage scenarios. However, the H1d hypothesis reveals no significant impact from social value: customers primarily purchase these products for personal needs rather than pursuing social significance. This finding indicates that design evaluations may be able to play down social value metrics in the context of product development.
3. (3). The results of Hypothesis H2 and H3 demonstrate that perceptual innovation and cultural relevance significantly enhance customer satisfaction. This finding serves to corroborate Drucker‘s assertion that “the essence of business is creating customers.” In the experience economy era, it is imperative for companies to establish emotional connections through cultural resonance and to create cognitive differentiation via innovative perceptions in order to achieve exponential growth in customer value perception. In order to enhance customer satisfaction, businesses may consider the following strategies: Firstly, the integration of cultural elements through regular launches of differentiated products/services with unique features/designs is recommended in order to strengthen product/service innovation. In addition, the exploration of cultural IP value by transforming regional characteristics and historical elements into tangible consumer experiences is advised. Secondly, the innovation journey and cultural DNA behind products must be presented visually through brand storytelling videos and immersive exhibitions. Furthermore, the development of cultural knowledge and the provision of value-added services (for example, traditional craft instruction and the interpretation of cultural merchandise) should be considered to enhance cognitive fulfillment during the consumption process.
4. (4). The results confirm Hypothesis 4. It indicates that an increase in customer satisfaction leads to a weakening of consumers’ perceived risk of decision-making, which can stimulate their purchase intention. This is achieved through emotional identification with cultural and creative products, and the establishment of brand trust.
5. (5). The findings of the benchmark regression analysis indicate that perceptual innovation and cultural cognition exert the most substantial influence on customer satisfaction. Subsequent mechanism analysis demonstrates that customer satisfaction serves as a significant mediating factor between these two dimensions. Therefore, from the perspective of perceived innovativeness, culture, emotion and functionality are the primary distinguishing factors among different cultural and creative products. Designers must extract traditional cultural elements, artistic symbols and color schemes based on user needs, whilst updating product design approaches to achieve artistic innovation. Incorporating traditional cultural elements necessitates the minimization of subjective intervention and the prioritization of alignment between fundamental functional requirements and user usage scenarios. In relation to cultural perception, it is incumbent upon designers to undertake a thorough exploration of the fundamental principles and the inherent value of traditional culture, with a view to enhancing the recognizability of the product. During the design process, it is possible to undertake a vertical analysis of regional characteristics, architecture, patterns, and artifacts, while simultaneously establishing horizontal connections between related classic stories and cultural heritage elements. This approach is intended to prevent issues such as homogenization and symbolic repetition.

The innovations of this study are reflected in the following aspects: Firstly, this study transcends the limitations of traditional perceived value models through contextual expansion and dimensional integration. The integration of the two core attributes of cultural and creative products – innovation perception and cultural perception – into the classic CPV framework establishes an integrated analytical model tailored for cultural and creative consumption. This work elucidates the value-driven structure that distinguishes cultural and creative products from ordinary commodities, thereby providing a more essential theoretical tool for related research.

Secondly, this study provides a comprehensive validation of chain-mediated pathways, thereby deepening our understanding of the so-called “value transformation black box”. In contrast to the majority of research that focuses exclusively on direct effects, our study rigorously examined and confirmed the complete mediating role of customer satisfaction in the relationship between “perceived value” and “purchase intention”. The subsequent analysis sought to elucidate the manner in which disparate perceived dimensions- namely, functional quality value, functional price value, emotional value, perceptual innovation, and perceived cultural value – exert an indirect influence on purchase intention through the medium of satisfaction. This provides a clear mechanistic explanation for how cultural value translates into actual consumer behaviour. The conclusions provide insights for the marketing of cultural and creative products: designers should balance functionality, innovativeness, and cultural value, and achieve the transformation from “interest” to “action” by enhancing satisfaction.

Thirdly, this study provides a contextualised revision of extant theoretical assumptions through an empirical reflection on the role of “social value.” The findings of the study indicate that in the context of museum cultural and creative consumption, social value exerts minimal influence on satisfaction or purchase intention. This finding suggests that consumers’ purchasing motivation may stem more from intrinsic cultural identity and personal experiences than from external social display needs, prompting a re-examination of the boundaries and applicability of social value in cultural consumption.

Nevertheless, the present study is not without its limitations. In terms of research depth, the research model primarily focuses on intrinsic product attributes while neglecting consumer characteristics and purchasing environments, which introduces inherent constraints. It is recommended that future research efforts focus on the development of a comprehensive “innovation-cultural-satisfaction” framework. This framework should incorporate moderating variables, such as individual consumer traits (e.g., age and cultural background) and product categories. The integration of these moderating variables will facilitate the identification of differential impact pathways, which will contribute to a more nuanced understanding of the factors influencing consumer behavior. In addition, the incorporation of contextual factors, such as customer purchase scenarios for cultural and creative products, in conjunction with additional evaluation metrics, would serve to provide more scientifically grounded theoretical foundations for their design and development.

In terms of research design, the present study focuses on the audience groups of multiple museums in Shaanxi Province as the research object. While this approach effectively unveils the cognitive processes of consumers within the confines of this particular cultural context, it concomitantly imposes limitations on the extent to which the conclusions can be generalised. The rationale behind this phenomenon is attributable to the considerable size of China, accompanied by pronounced disparities in economic development, cultural heritage, and audience composition across various regions. It is imperative that future research is validated and compared in a broader geographical area and across a wider range of museum types. Moreover, the present study was chiefly concerned with conducting a cross-sectional study, the result of which was that consumer cognition was captured solely at the time of data collection. In reality, the public’s perception of museum cultural and creative products is a dynamic process, easily influenced by cultural events, market trends, and policies. Consequently, future research should be directed towards two primary areas. Firstly, the execution of cross-regional comparative studies to investigate the impact of differing socio-economic and cultural factors on consumer cognition. Secondly, the adoption of a longitudinal research design to monitor the progression of consumer cognition over time, thereby yielding more dynamic and in-depth insights.

Supporting information