Emotional Design for Ethnic Cultural Products: Development of the Yù Fragrant Sachet Featuring Zhuang Minority Brocade

Emotional Design for Ethnic Cultural Products: Development of the Yù Fragrant Sachet Featuring Zhuang Minority Brocade | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article Emotional Design for Ethnic Cultural Products: Development of the Yù Fragrant Sachet Featuring Zhuang Minority Brocade Yacai Tian, Li Wei, Utai Uprasen, Yan Tan This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-8986423/v1 This work is licensed under a CC BY 4.0 License Status: Under Revision Version 1 posted 11 You are reading this latest preprint version Abstract The traditional cultural products tend to be undervalued in the modern markets due to the lack of emotional resonance and innovative expression. This work proposes an emotional design strategy of ethnic cultural products, based on Yù fragrant sachet featuring Zhuang minority brocade of Yulin, China. The sachet draws on the historical figure of 鬱 (Yù) which confines the historical connections of the city with aromatic substances and Zhuang national culture. It acts as a carrier of both local identity and fragrance culture. In terms of methodology, the study develops an extended the three-level theory of emotional design to build a user-centred requirement framework. Emotional needs are expressed at visceral, behavioral and reflective levels that result in twelve fined-grained requirements, which are specific to brocade-based fragrant sachets. Then the KANO model is used in order to categorise these requirements and rank the design features correspondingly in order to match product features with differentiated user expectations and emotional responses. Based on this, an integrated emotional design strategy is developed to the Yù fragrant sachet which encompasses Zhuang brocade symbolism, narrative and interactive use design. Simultaneously, the eco-design values, biodegradable inner parts, green sourcing of herbs, and refillable structure are integrated within the same model. This shows how emotional and environmental goals can be mutually operationalized. The research therefore presents a product level and concrete approach to emotional design of ethnic cultural products and how local heritage can be converted into marketable, environmentally friendly products that can sustain cultural continuity and rural revitalization. Humanities/Cultural and media studies Social science/Cultural and media studies Social science/Environmental studies Social science/Science technology and society Social science/Sociology Emotional Design Cultural Revitalization Environmental Sustainability Zhuang Minority Brocade Fragrant Sachet Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Research Highlights Extends a three-level emotional design model customized to the Zhuang brocade sachets. Derived twelve fine-grained requirements tailored to brocade-based fragrant sachets. Proposes a KANO-based framework for the emotional design of ethnic cultural products. Applies user-centered design to innovate the Yù fragrant sachet using local heritage. Directly integrates environmental sustainability into cultural product design. Enhances cultural identity and market value through emotional design strategies. Offers a replicable design approach for rural revitalization through cultural products. Introduction In the context of rapid urbanisation and consumerism, traditional cultural products are increasingly threatened of being marginalised (Theurillat & Graezer, 2022). Despite their great historical depth and symbolic value, many have difficulties with contemporary consumers. This is because of outdated modes of expression, weak interaction design and lack of emotional interaction. This disconnect not only weakens their cultural communicative power, but also restricts the sustainable development of relevant cultural and rural industries (Li et al., 2022 ). The challenge is especially acute in ethnic minority areas, where traditional crafts have to be revitalized in ways which at the same time preserve the heritage, address market logics and contribute to a sustainable environment (Ma & Roosli, 2025 ). Emotional design is a promising answer to this aspect. Instead of focusing solely on function and efficiency, it puts users' affective responses at the forefront in perception, interaction and reflection. For the cultural products, such emotions reach beyond aesthetics and include memory, identity, belonging and pride and so become critical in bridging tradition and modernity. One of the prefecture-level cities of China, Yulin, Guangxi, offers a unique context in which to examine this issue. Guangxi is home to the largest Zhuang ethnic population in China. They are known for their rich cultural heritage and their symbolic practices. Zhuang brocade ( 壮锦 ) is one of the four best-known brocade styles in China. It is a nationally recognized intangible cultural heritage, which is full of complex visual narrative and ethnic identity (Ni et al., 2024 ; Tian & Sikka, 2024 ). At the same time, Yulin has become the “Spice Capital of the World”. It is a central hub for national spice trade (Guangxi Zhuang Autonomous Region Government, 2024 ). The combination of brocade craft and aromatic culture forms a unique multisensory base for the development of emotionally interesting ethnic cultural products. This includes the fragrant sachets that have a visual, tactile and olfactory combination. Recent studies increasingly link emotional design with the preservation and revitalization of intangible cultural heritage (ICH), showing how design innovation can strengthen cultural identity, enhance user engagement, and support rural development (Vaidya & Kalita, 2021 ). Emotional elements—such as sensory appeal, cultural symbolism, and narrative expression—shape how users perceive and value ICH-related products and help translate traditional cultural resources into social and economic benefits, particularly within rural revitalization initiatives (Yu et al., 2022 ; Zeng & Jin, 2024 ). However, most existing work on cultural creative products, especially brocade-based products, remains at the level of the broad three-level model—visceral, behavioral, and reflective. Even when emotional requirements are discussed, they are rarely operationalized across all three levels in a product-specific manner. The first research gap is therefore the lack of concrete, product-level design frameworks that systematically apply emotional design to a specific handcrafted, ICH-derived object and show how detailed design decisions—such as materials, patterns, storytelling, fragrance composition, and user interaction—can measurably enhance user affinity, cultural connection, and market appeal (Zhou et al., 2025 ; Jiang & Li, 2024 ). A second limitation emerges around environmental sustainability. Existing studies on cultural innovative products, including brocade items and fragrant sachets, tend to address sustainability indirectly, emphasizing natural materials, cultural continuity, or product longevity as conceptual proxies for ecological responsibility (Hou, 2020 ; Deng, 2022 ; Liang et al., 2025 ; Zheng & Ke, 2025 ; Yan et al., 2024 ). Explicit considerations of the eco-design, like material biodegradability, refillable structure, or low-waste life cycles, are rarely incorporated into the fundamental structure of emotional design. Consequently, the second research gap is the lack of research that directly and systematically structures eco-friendly cultural products, which design logic is directed to environmental sustainability and especially in ethnic and rural contexts. This research fills in these two gaps through the development of design of the Yù fragrant sachet with Zhuang minority brocade. First, it proposes an emotional design strategy based on an expanded three-level theory of emotional design, in combination with the KANO model to derive and prioritize twelve fine-grained emotional requirements on three different dimensions: visceral, behavioral and reflective. In doing so, it provides a concrete, product-level emotional design framework that connects specific design decisions in visual language, fragrance composition, modes of interaction, and elements of narrative to user needs and market positioning. Second, the sachet is conceptualized as an explicitly eco-friendly product: inner materials are biodegradable, green sources of herbs are used, and a refillable structural design are incorporated from the very beginning, incorporating environmental sustainability as a direct design goal rather than a secondary, conceptual attribute. These contributions illustrate how emotional design can be used to simultaneously support cultural revitalization, regional branding and low-waste development in an underdeveloped ethnic region. The rest of this article is organized as follows. Section 2 is a review of the literature on emotional design, cultural and creative products and environmental sustainability, focusing especially on ICH and ethnic crafts. Section 3 describes the research design and methodology, the theoretical framework, data collection and analytical procedures adopted to elicit and classify user emotional requirements. Section 4 shows the empirical results, presenting a detailed description of the emotional requirement categories obtained from the KANO analysis. Section 5 discusses the resultant emotional and eco-design strategies that were applied in the development of Yù fragrant sachet featuring Zhuang minority brocade. Section 6 concludes with some key findings and policy implications on the topic of emotional design of ethnic cultural products. Literature Reviews Emotional Design and Cultural Creative Products Norman's three-level emotional design model describes how products trigger responses in the user at the visceral, the behavioral, and the reflective levels (Norman, 2004). These three levels have been widely applied in different types of products, including healthcare and pharmaceutical products (Feng et al., 2024; Patel & Rohan, 2017), fitness and sports technologies (Zou et al., 2025), 3D printed interactive products (Lim, 2014), and digital interfaces and interactive picture books (Zhang, 2025; Liu et al., 2023; Wang et al., 2021). Their use is a reflection of a growing emphasis on emotionally informed and user-centered design that pays attention to multiple layers of emotional engagement in order to support effective and meaningful product development. Later reviews also indicate that emotion is now considered as a central, rather than secondary, design parameter (Vaidya & Kalita, 2021). The use of Norman’s framework to cultural and creative products constitutes an important intersection between design, cultural meaning and experience of emotion. The design of cultural and creative products is expected to transcend simple functionality in order to create emotional identity and cultural resonance. Yu et al. (2022) empirically demonstrate in the context of Chinese cultural and creative products that consumers' preferences and purchase intentions are significantly affected by emotional design criteria, although the effects are the result of complex interaction between design attributes and user cognition. Similarly, Tsang et al. (2022) use an evaluative model to analyze Palace Museum cultural products and they conclude that cultural integration, originality, and other attributes such as utility, and fashionability, are significant factors in user satisfaction. At the visceral level, design elements, such as color, texture, and visual style, have a major effect on immediate emotional responses. Hou (2020) points out that sensory cues that are embedded in the product design can significantly influence user preferences, and this is particularly true for cultural products that rely heavily on aesthetic and symbolic expression. Tu et al. (2019) further demonstrate that visually appealing cultural products that have a heritage and cultural context attract more consumer interest and purchase intentions, illustrating the importance of making a good first impression in the cultural and creative markets. At the behavioral level, usability and functional experience are the areas of focus. Elliott and Nakata (2013) highlight that intuitive and effective interactions are critical for products that are designed for a diverse and global market. In the context of cultural product design, Wang and Gu (2020) have employed analytic hierarchy processes to ensure that product functionality is in line with consumer expectations, in order to allow cultural meaning to be transferred through practical use. Their findings, in conjunction with those of Tsang et al. (2022), indicate that when usability, utility, and cultural storytelling are aligned, users will have more enjoyment, satisfaction, and engagement with cultural and creative products. The reflective level includes personal meaning, cultural identity and emotional attachment for the long term. Zhang and Wen (2020) for example, find that products that combine local culture and historical narratives build pride and strengthen community ties. Zhao (2021) similarly demonstrates the value of cultural symbolism within design for the in-depth emotional resonance and brand loyalty. Hou (2020) suggests that the integration of local elements serves to strengthen cultural identity, which manifests as an important competitive advantage in the global market, while Kang and Nagasawa (2023) show that Kansei-based methods can be used to translate regional cultural characteristics into emotionally appealing forms of products. In this context, the heritage-based and rural cultural products have become an important field of application. Norman’s three-level concept has been employed in deriving design guidelines for heritage-based cultural products, such as Guangdong paper-cutting, when developing emotional design strategies for cultural tourism souvenirs (Zhou et al., 2025). Kong (2024) argues that rural revitalization is reinforced with regional cultural symbols being creatively transformed into modern designs, thus promoting cultural identity, improving tourism experiences and raising product value, as well as supporting sustainable rural industries and long-term cultural inheritance. At the same time, intangible cultural heritage (ICH) is also increasingly being framed as a strategic resource for rural revitalization, since traditional handicrafts can be a support to local employment and community development. Correspondingly, the research of design and branding is starting to link design for emotion explicitly to cultural development in rural areas (Cerquetti et al., 2022). Zhao and Zhang (2024) use branding and design methods to revitalize traditional crafts and integrate ICH into the design of contemporary products, highlighting its role in China's rural revitalization strategies. In addition, Zeng and Jin (2024) demonstrate that artistic design with the help of AI can customize emotional and aesthetic features to craft appealing and resonant rural cultural brands. These studies provide an example of the convergence of visceral, behavioral, and reflective levels of design to create a multifaceted approach to the development of cultural and creative products. Emerging technologies help fuse the traditional culture with the modern forms and interactions, therefore enhancing the emotional expression in cultural products (Meng, 2021; Liang, 2022; Zeng & Jin, 2024). Emotional Design of Cultural Creative Products and Environmental Sustainability Research on emotional design in cultural and creative products frequently refers to sustainability and environmental concerns, but usually in an indirect rather than product-specific manner. Hou (2020) adopts Norman’s emotional design framework to organize cultural and creative product design around user experience and emotional resonance. Emotional design is framed as a path to sustainable development by integrating regional cultural symbols, materials, and narratives with contemporary lifestyles so that culturally grounded products remain attractive and are used for longer periods. In this approach, environmental sustainability is addressed only implicitly through extended product life and the reduction of short-lived, disposable souvenirs, rather than through explicit eco-friendly product redesign. Deng (2022) applies Norman’s three-level emotional design to “blind box” cultural products and argues that sustainable products should follow principles of product reduction, environmental sustainability, long-term efficiency, and health. The study recommends cradle-to-cradle thinking and life-cycle assessment so that materials can circulate in closed loops. These ideas clearly embed environmental sustainability at the level of design principles, yet the article does not present a specific cultural creative product that has been redesigned to reduce environmental impact. Sustainability appears as a conceptual guideline—mainly through calls for durability and recyclability—rather than as the demonstrated outcome of a concrete eco-design case. A similar pattern is found in the literature concerning fragrant sachets. Liang et al. (2025) build an ontology-based knowledge graph for Qingyang sachets for long-term digital preservation and reuse of embroidery heritage. Their focus is cultural and informational sustainability, and whilst such tools may provide the means for future environmentally conscious redesign based on low impact practices. The study itself does not alter sachet products in ecological terms. Zheng and Ke (2025) provide a review of Qingyang sachets and highlight how materials, life cycles and environment are key elements in sustainable handicrafts. They point out natural herbal fillings, focus on the life span of the products, and environmentally sensitive production processes. However, these contributions are still largely descriptive and advocacy-based, describing traditional practices but not suggesting a modern-day eco-design approach, or an empirically tested sachet redesigned for environmental sustainability. For brocade-based cultural products, Yan et al. (2024) analyze the decline and redevelopment of Guangxi Zhuang brocade and propose the sustainable development strategies for it. Their recommendations emphasize increased public awareness, better design and marketing, and the association of brocade production with tourism and community development. Environmental sustainability is touched upon primarily in terms of the sustainability of the ongoing use of natural fibers and plant-based dyes and the long-term viability of handicraft production under a broad design for sustainability perspective. The study is not a design or assessment of a brocade product where environmental sustainability is the main objective, or where specific eco-efficiency measures in terms of materials and production processes are introduced. KANO Model and User Requirements in Cultural Creative Products The customer requirements model KANO, which is widely used to classify customer requirements, is divided into basic (must-be), performance (one-dimensional), excitement (attractive), indifferent, and reverse types (Shahin et al., 2017). This framework allows prioritization of features that have the greatest impact on user satisfaction, which is increasingly being used when developing cultural and creative products. Early applications demonstrate how the KANO model can be combined with affective and user-centred design methods. Wang and Ju (2013) combined KANO with an emotional product development methodology in order to capture user expectations and increase emotional engagement. Building upon this view, Qi et al. (2025) used grounded theory and KANO to determine the key needs in cultural creative products (e.g., emotional identification, personalization, and uniqueness) and assign them to basic, performance, and excitement categories in order to match cultural expression with consumer desire. Following research expands KANO to particular contexts of souvenirs and cultural products. Jiang and Li (2024) used hierarchical analysis, the KANO model, and Better-Worse analysis in Changsha's cultural souvenirs, and found heterogeneous cultural value evaluation of creativity, cultural symbolism, and practical utility. Zhu and Cho (2024) used a combination of KANO and AHP (Analytic Hierarchy Process) to differentiate basic, performance and excitement attributes of marine tourism souvenirs, which helps to clarify where to focus innovation. Similarly, Hou, et al. (2025) applied KANO for classifying user requirements of museum bronze cultural creative products and translated the classifications into design priorities for sustainable product development. Wang (2023) performs KANO model based on two-dimensional questionnaires collected from visitors at the Fang Zhimin Memorial Hall to classify the attributes of cultural products. Findings show that story, color symbolism and revolutionary themes are important attractive or necessary qualities that have a strong effect on increasing satisfaction and cultural resonance. More sophisticated analyses consider more advanced methods for dealing with uncertainty and emotional response. Zhong et al. (2020) used fuzzy KANO model to analyze the demand of cultural products in the region, which can capture the subtle perception of culture more accurately. Deng and Wang (2019) used an EEG technology and KANO together to trace the emotional responses of users to the cultural design elements, and to find those features that most effectively contribute to experiential satisfaction. In old and artistic contexts KANO has been used to identify the cultural attributes with resonance. Song and Yu (2022) investigated the preferences on the Tongshan wood carvings and Wang and Song (2023) used KANO in digitalising the Nuo masks in Guizhou, in order to help design culturally grounded but innovative masks. Going beyond the physical objects, Kuo et al. (2023) combined the method of evaluation grid with a continuous fuzzy KANO model in order to analyze aesthetic preferences for Taiwanese landscape paintings, which showed the relationship between cultural appreciation and consumer satisfaction in this model. Zhuang Brocade Ethnic Crafts and Product Innovation Zhuang brocade is one of the four famous brocades in China. It was included in the first batch of national intangible cultural heritage items in 2006. It is deeply rooted in the daily life and identity of the Zhuang people, with patterns and colors having a cosmological, historical, and ethnic symbolism. However, Guangxi Zhuang brocade is faced with a declining inheritance, weak innovation, low market demand, and disappearing cultural identity. It needs to be educated, modernized disseminating, and design innovation to ensure sustainable development (Lan and Tan, 2023). With regard to the research on Zhuang brocade, the research on Zhuang brocade has been increasing in recent years, both in terms of the research on the cultural inheritance and the research on the contemporary design. Using Kansei engineering Huang and Pan (2021) shows how the colors, patterns and textures of Zhuang brocade evoke particular emotional responses, which in turn can be used as a foundation for translating these cultural traits into the design of modern products. It directly supports visceral level needs such as material texture, pattern design, and culturally meaningful color coordination. Ni et al. (2024) construct a digital data of Zhuang brocade colors and patterns and create an algorithm of pattern-generation. They show that with the support of computational techniques, traditional patterns can be easily integrated into new settings. At the same time, they retain their aesthetic features-facilitating the design of brocade patterns, color-coordination, and tailored cultural-products development. Han et al. (2025) investigate the symbolic meaning of Zhuang brocade patterns. They suggest the approaches to the graphic transformation to fit the traditional motifs in the modern use of the design. Based on applications of the three-level emotional design of Norman to Zhuang-brocade products, with a focus on interactive technologies (digital displays, QR codes) to promote users’ behavioral-level interaction, Chen (2016) argues that effective protection of Zhuang brocade skills can be supported through the well-designed cultural products. Research Gaps and Contributions The growing literature relating emotional design to the preservation and revitalization of intangible cultural heritage (ICH) demonstrates that sensory appeal, symbolism, and narrative expression can promote user engagement and create social and economic advantages in a rural area (Vaidya and Kalita, 2021; Yu et al., 2022; Zeng and Jin, 2024). However, for cultural and creative products—particularly brocade-based items—most studies remain at the level of general discussion of Norman’s three emotional layers. They seldom translate these ideas into concrete, object-specific design schemes. In the case of Zhuang brocade, research has largely focused on cultural representation, pattern interpretation, or sectoral development, with limited attention to systematically deriving product features from user emotional requirements (Huang & Pan, 2021; Ni et al., 2024; Chen, 2016). This reveals a first gap: the lack of product-level emotional design frameworks that show how decisions on materials, patterns, storytelling, fragrance composition, and interaction are grounded in, and evaluated against, user emotions (Zhou et al., 2025; Jiang & Li, 2024). A second gap concerns environmental sustainability. Studies on cultural innovative products, including brocade items and sachets, typically treat sustainability indirectly through natural materials, cultural continuity, or product longevity, without embedding ecological criteria into the core design logic (Hou, 2020; Deng, 2022; Liang et al., 2025; Zheng & Ke, 2025; Yan et al., 2024). This work fills these gaps in two aspects. First, it develops an object-level emotional design framework for the Yù fragrant sachet featuring Zhuang minority brocade through the application of an extended the three-level theory of emotional design and the KANO model to derive and prioritize twelve concrete emotional requirements. Second, it integrates eco-design principles (biodegradable inner components, green sourcing of herbs, and a refillable structure) into the product design. This demonstrate that emotional and environmental goals can be jointly operationalized in ethnic cultural product design. Research Design and Methodology Norman ’ s Three-Level Emotional Design Model The current research explores the emotional demands of users in relation to the Yù fragrant sachet with Zhuang minority brocade, which is a cultural product that is entrenched in the textile and fragrance culture of the Yulin City in China. User desires are analyzed using three levels of emotional processing to provide a comprehensive understanding of emotional engagement in product design. Based on this approach, this study proposes an expanding three-level theory of emotional design. The visceral–behavioral–reflective structure is implemented through twelve fine-grained user requirements, which are customized to emotionally charged cultural products. This top-down approach initially defines the emotional and cultural goals at each level. It then maps these goals onto KANO categories and their corresponding design solutions. To translate the framework into empirical work, a field research was conducted at the Yùlin spice market. The authors connected directly with local aromatic materials by exploring olfactory and interviewing the vendors. The obtained information about herbal characteristics and their cultural connections were synthesized and refined into twelve user requirement items. The summary is in Table 1. These connect cultural habits with structured emotional design basis. Table 1 Twelve User Requirements for the Yù Fragrant Sachet Featuring Zhuang Minority Brocade Sub-dimension Requirement Item Requirement Indicator and Description Visceral Level Material Texture Fabric texture should be soft and smooth. Brocade Pattern Design Integration of traditional Zhuang brocade patterns (e.g., meander, ripple), adaptable to various users and contexts. Fragrance Preference Compound fragrances with Yulin characteristics (e.g., star anise + cinnamon). Color Coordination Color matching should follow the existing palette of Zhuang brocade. Behavioral Level Medicinal Efficacy Effects include calming the mind, aiding sleep, repelling insects, and purifying the air. Portability Design Proper size, adjustable hanging cord, easy to carry. Safety and Practicality Materials should be safe, eco-friendly, and effective. Inner layer made of breathable non-woven fabric. Technological Interactivity QR code traceability (users can check sourcing, processing, and quality inspection of fragrance materials) Reflective Level Customization Services Customized design based on user preferences. Gift-Giving Value Embodies local cultural characteristics and conveys blessings. Environmental Consciousness Use of green, recyclable materials. Inner pouch made of biodegradable materials. Cultural Storytelling Packaging and labels clearly introduce the history and craftsmanship of Yulin’s aromatic culture. Note: Data compiled by the authors based on field research, olfactory exploration, and vendor interviews conducted at the Yùlin spice market. Table 1 shows how the operationalization of user requirements of the Yù fragrant sachet, with Zhuang minority brocade, can be implemented in the proposed three level emotional design model. It divides twelve requirements into three sub-dimensions, including visceral, behavioral, and reflective. It connects every requirement resource with a tangible indicator and description. This framework converts abstract emotional desires into visible design requirements, that can be examined in a systematic manner. At the visceral level, there are five requirement items that reflect the immediate sensual reactions of the users. They are material texture (soft, smooth fabric), brocade pattern design (integration of traditional Zhuang elements which are adaptable to different users), fragrance preference (compound scents with Yùlin features like star anise and cinnamon), color coordination (alignment with the Zhuang brocade scope), and medicinal efficacy (calming, sleep-aiding, insect-repellent, and air-purifying functions). The behavioral level consists of four items that relate to the use experience. They are portability design (suitable size, adjustable hanging cord, easy carrying), safety and practicality (environmentally friendly, materials and breathable inner layer), technological interactivity (QR-code traceability for sourcing, processing, and quality control), and customization services. The reflective level consists of three higher-order desires. They are gift-giving value (reflects of local cultural features and blessings), environmental awareness (green, recyclable and biodegradable materials), and cultural storytelling (packing and labeling with a clear explanation of the history and craftsmanship of Yùlin’s aromatic culture). KANO Model In this work, the KANO model is integrated with emotional design theory to develop the Yù fragrant sachet featuring Zhuang minority brocade. After identifying twelve user requirements across the visceral, behavioral, and reflective levels, the KANO model is used to classify and prioritize these desires quantitatively. This integrated approach implies that emotional resonance and functional performance are systematically amalgamated into the design process. The use of the KANO model to design a heritage-based and widely symbolic product like the Yù sachet exemplifies its capacity to reconcile the traditional craftsmanship with the modern requirements of a user. Figure 1 indicates that the combination of the principles of emotional design and KANO analysis provides the holistic approach to designing culturally focused, user-oriented, and emotionally-related products. These could promote both cultural revitalization and economic development of rural areas simultaneously. Questionnaire Design and Data Collection In accordance with the methodology described by Yu et al. (2022), a systematic classification and prioritization of user requirements of the Yù sachet were achieved by creating a structured questionnaire grounded on KANO model. The questionnaire was designed based on paired functional and dysfunctional questions in relation to the twelve user requirements that were identified during the emotional need analysis. The questionnaire was divided into two major parts. The initial part was a demographic section where the basic demographic data were gathered such as gender, academic discipline and occupation. The second part was a pair of KANO format questions on each of the twelve emotive design factors. As an example, the participants were questioned: “If the sachet has a soft and smooth material texture, how satisfied are you?” “If the sachet does not have a soft and smooth material texture, how satisfied are you?” The items were rated on each item based on a five-point categorical scale that is aimed at capturing the level of satisfaction of the respondents. Response choices included the following: “I like it that way,” “It must be that way,” “I am neutral,” “I can live with it that way,” and “I dislike it that way.” This format is able to be used to classify the preferences of the users accurately according to the presence or absence of certain product attributes, according to the methodology of the KANO model. The survey was carried out in Wenjuanxing, which is an online survey tool that is popular in China. The responses were gathered through the means of targeted peer distribution and open distribution through the digital social medi Xiaohongshu, WeChat groups, and other platforms. This is a multichannel strategy that was undertaken to get a wide sample based on age, education level, and location. Following the collection of data, the responses were cleaned to eliminate invalid or incomplete responses. Then the final data was analyzed in SPSSAU. It is a statistical analysis software, which is a cloud-based platform. It allows classifying the user requirements into KANO categories and assessing the distribution and relative significance of each attribute in terms of the user satisfaction. Empirical Results Overview of Data Collection The 419 questionnaires were collected in the survey period. There were 359 valid questionnaires after 60 invalid responses (primarily because of extremely short completion times or repetitive responses) were removed. Therefore, a valid response rate of was 85.68%. The reliability and validity of the KANO questionnaire were statistically verified, with the results summarized in Table 2. Cronbach alpha coefficients of each item of KANO questionnaire were calculated to assess reliability of the instrument. The overall scale showed an alpha of 0.885, while the functional (positive) and dysfunctional (negative) question displayed alpha values of 0.821 and 0.832, respectively. All the coefficients were higher than the generally accepted value of 0.800. This indicates that it has a high level of internal consistency and proves that the questionnaire has a high degree of reliability. Table 2. Reliability and Validity of the KANO Questionnaire Questionnaire Component Cronbach ’s α Coefficient Bartlett ’ s Test of Sphericity KANO Questionnaire 0.885 0.000*** Functional Questions 0.821 0.000*** Dysfunctional Questions 0.832 0.000*** Note: * indicates significance at the 1% level (p < 0.01). Analysis of User Profiles and Purchase Preferences To research on the emotional design and KANO-based assessment of the Yù sachet, a structured questionnaire was used and 359 valid responses were received. Table 3 gives an empirical foundation of the information about the user demographics, purchase habit, cultural awareness and expectations on the efficacy of the product. This, in turn, facilitates the ensuing categorization and prioritization of design attributes. Table 3. Analysis of User Profile and Purchase Preferences No. Preferences Responses 1 Demographic Characteristics • Gender: Male 46.24%, Female 53.76% • Education: Science and Engineering (STEM) 35.93%, Humanities and Social Sciences 23.12%, Business Studies 16.99%, Art and Design 16.43%, Medicine and Health Sciences 7.24% 2 Purchase Intentions and Motivational Drivers • Willingness to Purchase the Yù Sachet: Willing to Buy 67.97%, Not Willing to Buy 32.03%. • Motivational Factors for Purchase (Multiple Responses): Product’s Medicinal Efficacy 71.03%, Gift-Giving Value 54.32%, Cultural Connotation 52.92%, Aesthetic Design 32.59%. 3 Awareness of Yulin Aromatic Culture • Have a Basic Understanding of Herbal Functions: 49.58%, Heard of It: 30.92%, Familiar with Medicinal Value: 11.10%, No Awareness: 8.36% 4 Anticipated Product Efficacy • Multiple Responses: Refreshing and Focus-Enhancing Properties 84.12%, Insect-Repelling 77.99%, Stress Relief 73.54%, Improved Sleep 67.97% 5 Preferred Purchasing Channels • Channels: Online Purchase 54.32%, Offline (Tourist Sites) Purchase 44.57, Other 1.11 Source: Data compiled by the authors from 359 valid responses collected during the survey period. Regarding the demographic aspects, the sample shows gender balance, although there is a small majority of female respondents (53.76%). Educational attainments are varied with majority of the participants belonging to the science and engineering (35.93%), humanities and social sciences and business field with others being represented by art and design and health and medicine sciences. This fairly well educated and interdisciplinary profile may indicate that the Yù sachet is appropriate for both technically oriented and creative groups of users. This is beneficial in order to assess the functional performance as well as emotional experience in product design. The intentions of purchases are encouraging. Two-thirds of the respondents (67.97%) unveil their willingness to purchase the Yù sachet, which confirms the fundamental market potential of the product. On the question of motivational driving factors, the most common answers were the medicinal effectiveness of the product (71.03%). The next following motivations include its application as a gift, and cultural implication. The aesthetic design is also listed but not as high. These trends indicate that users are sensitive to a combination of utilitarian and symbolic values. The findings therefore support an emotional design strategy that incorporates both physical health benefits as well as culturally enriched stories. There is a moderate awareness of the Yulin aromatic culture. About half of the respondents (49.58%) reveal they have a basic knowledge of the functions of herbs. A large percentage of the respondents have at least heard of Yulin aromatics. However, only a small percentage know how their specific medicinal value. This statistical distribution implies that there are a great number of potential users that have some cultural basis understanding, but who still need more information. It therefore indicates greater opportunities of storytelling and educational communication in packaging, branding, and digital media as a component of the reflective level of emotional design. The anticipations of product efficacy are high and varied. The most common expectations of the respondents about the Yù sachet are refreshing and focus enhancing properties (84.12%), then insect-repelling property, stress reduction and enhanced sleep. All these expected categories are in line with the conventional properties of herbal sachets. These indicate that the users expect the product to benefit them physically (e.g., insect prevention and improved sleep) and psychologically (e.g., less stress and increased concentration). These expectations are clear indicators that guide towards defining important functional attributes in the KANO model. They also help to create multifunctional health-oriented formulations to address the practical and emotional needs of the users. Regarding the purchasing channel, online shopping is slightly preferred (54.32%). The purchase at tourist or cultural sites is also a significant complementary channel (44.57%). This trend highlights the necessity of a powerful web-based presence (via e-commerce and online narrative), alongside with offline experiences in cultural and tourism contexts. In general, the user profile and purchasing inclinations described in Table 3 provide valuable insights for synchronizing the functional features, emotional stimulation, and distribution ways of the Yù sachet, conform with the anticipations of the target users according to the emotional design and KANO-oriented assessment. Analysis of Survey Findings According to Table 1, this section displays a Better-Worse coefficient analysis of emotional requirements for the Yù sachet. The analysis applies the Better-Worse coefficient method in conjunction with the KANO model. User requirements are prioritized based on the Satisfaction Index (SI) and the Dissatisfaction Index (DSI), which are computed by using Equations (1) and (2). Better / SI = (A+O)/(A+O+M+I) (1) Worse / DSI = -1*(O+M)/(A+O+M+I) (2) where Better represents the Satisfaction Index (SI), and Worse is the Dissatisfaction Index (DSI). The F(M), F(O), F(A), and F(I) denote the proportions of Must-Be, One-Dimensional, Attractive, and Indifferent attributes, respectively. Table 4. Distribution of Attributes Across KANO Categories Attribute Must-Be (M) One-Dimensional (O) Attractive (A) Indifferent (I) Reverse (R) Questionable (Q) Better Worse Category Material Texture 23.96 7.8 16.71 50.14 0.84 0.56 24.86 -32.2 I Zhuang Brocade Pattern 32.87 23.12 9.75 31.48 2.79 0.0 33.81 -57.59 M Fragrance Preference 35.1 21.73 7.8 31.75 3.62 0.0 30.64 -58.96 M Color Coordination 20.89 6.13 17.83 51.25 3.9 0.0 24.93 -28.12 I Medicinal Efficacy 9.19 23.34 35.38 29.25 2.79 0.0 60.46 -33.52 A Portability 13.65 20.61 30.08 27.58 7.8 0.28 55.15 -37.27 A Safety & Practicality 13.09 8.91 17.83 54.6 5.57 0.0 28.32 -23.3 I Technological Interactivity 16.43 43.45 9.75 28.13 2.23 0.0 54.42 -61.25 O Customization Service 23.12 36.77 9.75 27.3 3.06 0.0 47.99 -61.78 O Gift-Giving Value 18.38 7.24 17.83 54.87 0.84 0.84 25.5 -26.06 I Environmental Consciousness 9.19 18.94 37.05 31.75 2.51 0.56 57.76 -29.02 A Fragrance Education 19.78 6.41 19.5 52.65 1.39 0.28 26.35 -26.63 I Source: Calculated by the authors based on the 359 valid KANO questionnaire responses using the Satisfaction Index (SI) and Dissatisfatisfaction Index (DSI) formulas. Table 4 outlines the proportions of the KANO category and SI and DSI coefficients of the twelve emotional attributes of the Yù sachet. All attributes were put into the six common KANO attributes. They are Must-Be (M), One-Dimensional (O), Attractive (A), Indifferent (I), Reverse (R), and Questionable (Q). They are further assessed concerning its contribution to user satisfaction (Better) and dissatisfaction (Worse). The outcomes indicate that there exist significant differences in the perception of the importance of various emotional attributes by the users. Characteristics like the Zhuang brocade pattern (32.87%), fragrance preference (35.10%) were mostly classified as must-be qualities. These indicate that users consider such characteristics as fundamental expectations. The notably substantial negative DSI values (−57.59 and −58.96) imply that the lack of these elements would seriously reduce the satisfaction of users. As a result, these features are key elements that should be included in the design of the product to address the minimum user specifications. The one-dimensional attributes were found to be technological interactivity (43.45%) and customization service (36.77%). They generated linear impacts on satisfaction. Improvements in these attributes directly enhance user approval, and their shortcomings significantly decrease it. These are indicated by their large Better coefficients (54.42 and 47.99) and large and negative Worse coefficients (-61.25 and -61.78). These features are thus the key performance-based features that contribute greatly to the user experience. Other features such as medicinal efficacy (35.38%), portability (30.08%) and environmental consciousness (37.05%) are under attractive category. They can significantly please users, as their Better values are high with medicinal efficacy at 60.46. Nevertheless, their absence does not have a significant impact on satisfaction. This implies that they serve as auxiliary features that make the product more emotional and increase its overall desirability. On the other hand, material texture, safety and practicality, gift-giving value, and fragrance education were most specifically indifferent elements. The above-average percentages of the respondents fall into the I category. These properties have a weak effect on satisfaction or dissatisfaction and have little effect in creating or damaging emotion. As an illustration, material texture, although it has an intermediate Better score of 24.86, does not add much to the overall user perception. These attributes can therefore be given second priority during the design process without reducing the user experience. The Better-Worse coefficients also provide a greater insight into the strategic significance of various attributes. The Better coefficient indicates the level of satisfaction increment with the provision of an attribute and the Worse coefficient indicates the level of dissatisfaction with the lack of an attribute. Attributes that have high absolute scores in both dimensions, including technological interactivity and customization service are highly bidirectionally sensitive and thus are at the heart of the creation of the emotional values of the Yù sachet. Collectively, the combined KANO classification and Better-Worse analysis depict a scale of design priorities of the Yù sachet. The must-be attributes and one-dimensional features are the main elements that should receive the primary focus as they affect both both satisfaction and dissatisfaction. The attractive features are not obligatory, but they provide significant possibilities to increase the user delight and enrich the emotional resonance of the product. The indifferent attributes do not play a significant role in user evaluation. Hence, they might be deprioritized in resource allocation. All in all, the analysis indicates the necessity to combine the key baseline expectations with the performance-based and delight-inducing characteristics. This creates an integrated and customer-oriented emotional design approach to the Yù sachet. According to the distribution of consumer requirements regarding the Yù fragrant sachet in the Better-Worse coordinate system, the twelve emotional attributes are well categorized into four quadrants that can be related to the KANO categories in Figure 2. Five elements are placed in the third quadrant, which represents Indifferent (I) attributes. They are made up of safety and practicality, cultural storytelling, gift-giving value, color coordination, and the texture of materials. The fact that they are located in this quadrant implies that consumers are not very sensitive to these factors. The increment of these features does not contribute much to the overall satisfaction. The second quadrant has Attractive (A) requirements. They include medicinal efficacy, environmental consciousness and portability design. These are related to high Better and relatively lower Worse values. The presence of these attributes makes the overall satisfaction stronger. However, their absence does not create significant levels of dissatisfaction. The One-Dimensional (O) requirements in the first quadrant includes technological interactivity and customization services. They have high values of Better and Worse coefficients at the same time. This suggests that consumer satisfaction increases substantially when they are present and decreases when they are not. The fourth quadrant shows the Must-Be (M) needs. It consists of brocade pattern design and fragrance preference. They reflect the fact that consumers regard them as basic expectations. Therefore, they do not promote satisfaction greatly in their presence, but result in dissatisfaction in their absence. According to KANO theory, consumer requirements are generally prioritized in the following order, Must-Be (M) > One-Dimensional (O) > Attractive (A) > Indifferent (I). By applying this concept to the Yù fragrant Zhuang brocade sachet, product development should firstly be ensured that the must-be requirements (brocade pattern design and fragrance preference) are reliably met. This is because they set up the baseline of product acceptance. Next, the one-dimensional needs (technological interactivity and customization services) should be emphasized. They have a strong and mutual influence on satisfaction and can considerably increase perceived value. Then, attractive attributions (medicinal efficacy, environmental consciousness, and portability design) can be chosen and strengthened selectively to create delight and differentiate the product in the market. The indifferent requirements that can be observed in the third quadrant, by comparison, have little effects to user satisfaction. Therefore, they might be given lower priority in product design and resource allocation. Table 5. Hierarchical Ranking of Emotional Attributes Type of Needs Emotional Needs Importance Ranking Must-Be (M) Brocade Pattern Design Fragrance Preference 1st 2nd One-Dimensional (O) Technological Interactivity Customization Services 3rd 4th Attractive (A) Medicinal Efficacy Environmental Consciousness Portability Design 5th 6th 7th Indifferent (I) Safety and Practicality Cultural Storytelling Gift-Giving Value Color Coordination Material Texture 8th 9th 10th 11th 12th Compiled by the authors based on the KANO attribute classification and the Better–Worse coefficient values presented in Table 4 and Figure 2. On this basis, the emotional attributes were hierarchically ranked by importance in Table 5. Must-be attributes—brocade pattern design and fragrance preference—occupy the first and second positions, followed by the one-dimensional attributes of technological interactivity and customization services in third and fourth place. The attractive attributes of medicinal efficacy, environmental consciousness, and portability design are ranked fifth to seventh, while the indifferent attributes—safety and practicality, cultural storytelling, gift-giving value, color coordination, and material texture—occupy the eighth to twelfth positions. In general, the design of the Yù fragrant sachet must, therefore, be aimed at ensuring the must-be features, strengthening the performance elements of one-dimensional, and strategically integrating the attractive characteristics. The indifferent features might be may be perceived as less significant, given that they do not substantially affect user satisfaction levels. Emotional Design Strategies for the Y ù Fragrant Zhuang Brocade Sachet Visceral Design: First Impressions and Aesthetic Appeal Visual Aesthetics The Yù fragrant Zhuang brocade sachet is a functional handicraft. However, it has to meet the practical and aesthetic expectations. According to the survey, Zhuang brocade pattern design is a Must-Be need. This indicates that consumers perceive it as a basic requirement rather than an optional decoration. In this regard, the outer appearance of the sachet is created through the exhaustion of traditional Zhuang motifs. Moreover, it is designed in the way that appeals to various user groups. Zhuang brocade patterns are divided into five categories in this study. They are geometric patterns, floral patterns, animal motifs, character (calligraphic) patterns and symbolic and auspicious motifs as shown in Table 6. For younger consumers, geometric and floral patterns may be mixed with more colorful color palettes. Then, it can simplify compositions to adhere to modern visual fashion. For the older customer or for festival related products, character and auspicious motifs that provide blessings, longevity or local identity are emphasized. These create more cultural resonance and emotional attachment. Consequently, the visual language of the sachet makes the traditional symbolic meanings cohesive with differentiated aesthetic strategies for different target users. Diversity of Fragrance Types Another important element of visceral design is fragrance. In order to accommodate for individual preferences and contextual applications, the selection of the scent is systematically divided into four different fragrance notes, as outlined in Table 7. Floral and fruity notes (e.g., rose, jasmine, lavender), which have a sweet, romantic and relaxing effects Woody (e.g. sandalwood, agarwood), with deep, calming and grounding tones Citrus scents (e.g. lemon, orange), with the characteristics of freshness, vitality Spice notes (e.g. star anise, cinnamon), which are warm, stimulating and comforting. Table 7. Common Fragrance Categories and Representative Ingredients Fragrance Category Representative Ingredients Characteristics Floral and Fruity Notes Rose, Jasmine, Lavender Sweet, Romantic, Relaxing Woody Notes Sandalwood, Agarwood Deep, Calming, Grounding Citrus Notes Lemon, Orange Fresh, Vibrant, Uplifting Spice Notes Star Anise, Cinnamon Warm, Stimulating, Comforting Note: Compiled by the authors based on olfactory exploration at the Yùlin spice market and the classification of traditional aromatic ingredients. These categories can be combined to create compound fragrance profiles tailored to various situations, using plentiful raw materials that are available in the Yulin spice market. As an example, rose could be used in combination with sandalwood to balance sweetness of soft florals whilst stabilising woody base. Alternatively, the citrus and the spice aromas could be combined and used as an invigorating daytime sachet. This categorization enables users to have the option to select and tailor formulas that align with seasonal changes, special occasions or emotional demands. These make each sachet as a unique manifestation of an individual emotion and identity. Behavioral Design: Usability and Functional Experience Medicinal Value The Yù sachet also embodies the behavioral level of emotional design through its medicinal properties. Traditional Chinese herbal sachets derive from Yiguan Therapy, an external treatment method in Traditional Chinese Medicine in which aromatic herbs are placed in wearable or portable containers. Active components are released gradually and absorbed via inhalation or skin contact, providing preventive and therapeutic benefits. On this basis, four functional sachet types were defined in this study: calming sachets, mosquito-repellent sachets, air-purifying sachets, and cold-prevention sachets (Table 8). Each type is associated with specific wearing or placement methods (e.g., placed near the pillow or anywhere in the room) and herbal formulas drawn from contemporary pharmacological and clinical research. Table 8. Therapeutic Effects of Fragrance Formulations Therapeutic Effects Wearing/Placement Method Herbal Formula Reference Calming Sachet Placed near the bedside or pillow Polygala, Acorus tatarinowii, Eupatorium, Albizia bark, Cinnamon Zhang et al. (2024); Kang et al. (2023) Mosquito-Repellent Sachet Placed anywhere in the room Mugwort, Acorus tatarinowii, Perilla, Eupatorium, Angelica dahurica, Agastache, Mint Clove, Artemisia annua Luo et al. (2022); Asadollahi et al. (2019) Air-Purifying Sachet Placed anywhere in the room Agastache, Acorus tatarinowii, Mint, Astragalus, Atractylodes Shah et al. (2022) Cold-Prevention Sachet Placed beside the pillow during sleep Angelica dahurica, Agastache, Eupatorium, Cardamom, Clove, Dried Tangerine Peel Zhang et al. (2020) Note: Developed and categorized by the authors based on Traditional Chinese Medicine (TCM) “Yiguan Therapy” principles and curated herbal formulas derived from cited pharmacological and clinical research. For example, calming sachets typically combine herbs such as Polygala, Acorus tatarinowii, and cinnamon and are placed near the bedside to support relaxation and sleep quality. Mosquito-repellent sachets incorporate mugwort, mint, and other volatile herbs suitable for placement around the room. Air-purifying sachets use ingredients such as clove and Artemisia annua to freshen indoor air, while cold-prevention sachets integrate warming and qi-supporting herbs and are usually placed beside the pillow during sleep. The significance of medicinal functions is further strengthened by the survey results. Approximately, 71.03% of the respondents stated that the medicinal efficacy is the main reason to buy sachets. In addition, over 60% of the respondents expected to experience the effect of mosquito-repelling or sleep-boosting from the sachets. These findings demonstrate that the therapeutic property realization is the critical factor in the user satisfaction. Thus, it should be a fundamental consideration in behavioral-level design. Portability Design The portability is a vital factor in determining the number of frequency and the circumstance under which the customers will engage with the sachet. In order to facilitate everyday use and align with modern lifestyle, two types of designs were developed. They include a necklace style and a bag-attachable style, as depicted in Figure 3. The necklace-style sachet utilizes the 20-30 cm adjustable silk cord with a soft texture. This allows the users to wear it comfortably around the neck. This design provides the advantages of lightness, elegance, and ease of wearing. Therefore, it can be applied in the everyday activities at home, outings, and even attendance of cultural events. The bag-attachable style uses of a spring clip that has a swivel clasp. This is designed for quick and hands-free manners, handbags, or car interiors. Its key advantages are rapid switching capability and anti-loss feature. It can be integrated into the commuting, travelling and outdoor life activities. These fashions offer better choices of carrying the product in a more flexible, discreet and context-appropriate way than in traditional waist-hanging sachets. By combining medicinal properties and careful consideration of portability properties, the Yù fragrant Zhuang brocade sachet achieves a coherent behavioral design. It is simple to use, flexible to a variety of contexts and capable of providing a range of its therapeutic and emotional effects into the user daily life. Technological Interactivity in Modern Sachet Design In accordance with the important technological interactivity, the Yù fragrant Zhuang brocade sachet combines digital interaction mechanism. This makes the user experience not only be limited to the physical product, as shown in Figure 4. Each sachet has an individual QR code printed on the hang tag. This allows the users to scan the code using a mobile device. It will be redirected to an online interface that gives comprehensive and visually oriented information of the product. As such, it breaks the limit of traditional sachets which only able to communicate through their appearance and aroma. This increases the readiness of information and consumer confidence, therefore induces buying commitments. The interactive interface is designed based on user-centered approach. It is divided into two major functional modules. The first module shows a visual spice growth log. This illustrates the origin of spices (like star anise and cinnamon), cultivation environments, and their major features. The presentations are in the form of photographs, text and graphical summaries. The second module offers batch-based quality details. They include inspection outcomes of pesticide residues and the content of active ingredients. The data are presented in the form of user-friendly charts and dashboards. Consequently, these modules provide product transparency and data-based viewpoint of the herbal ingredients and quality control methods of the sachet. In addition to the product transparency, the system also functions as a platform of local storytelling and industrial communications. The digital content conveys the information about Yulin, the so-called Spice Capital of China, and its cultural and tourist resources. Therefore, with a single scan of a QR code, the users are connected to both the material characteristics of the sachet and the cultural view on the origin of the sachet. This integration of physical product, digital traceability and place based narrative is what turns the sachet from being a simple functional product to an interactive carrier of brand identity and representation of local cultural. Reflective Design: Cultural Meaning and Personal Value Diversified Service Offerings At the reflective level, the Yù fragrant Zhuang brocade sachet is not just placed as a commodity, it is placed as a conveyor of cultural heritage, of individual memory. To strengthen this dimension, a Yù Fragrance customization workshop is proposed in two cultural prominent places (Yulin Shizi Street and the Yulin International Spice Market). These places make use of the fact that Yulin is famous for its importance as a center of traditional Chinese medicines and aromatic herbs. This makes the local agricultural resources experiential cultural assets. The service process is designed in three experience stages as summarized in Figure 5. During the Fragrance Exploration step, the users smell and compare herbs that serve as a base and read informational cards with brief information. This phase increases the sensory awareness and cultural education. Therefore, the visitors are able to be aware of the heterogeneity of herbal resources and their relation to the local identity. In the second phase DIY sachet Making the participants are welcome to choose which type of sachet they would like to make and complete the bag inside themselves with favorite herbs along with instructions. In this useful production, users have agency in customization and derive satisfaction from the personal production of the sachet. The final step, Emotional Engagement, involves making the users think about their creation and identify some memories or experience with the finished sachet and its scent. This process forms an emotional bond using olfactory memory. Thus, the sachet serves as a material reminder of the culture of Yulin and the participation of the user. By turning the ordinary herbs into emotionally meaningful artifacts and linking local agriculture with tourism, the workshop model adds value of the product of being an ordinary souvenir to a means for cultural narrative, expression of identity, and individual memory. Environmental Sustainability The environmental sustainability of the Yù fragrant Zhuang brocade sachet is covered through two complementary pathways. First, the product has a built-in eco-design strategy directly. This way the outer pouch can be used repeatedly and the inner herbal packet replaced. Second, it contains biodegradable and environmentally friendly materials for both the herbal filling and the inner lining. This indirectly mitigates the burden on the environment in a way that is similar to other forms of sustainable handicrafts. The direct contribution is derived from the process of a reversible stitching and drawstring structure, which can ensure that a sachet can be easily opened, refilled and closed. Based on Figure 6, there are three simple steps involved in the handmade packaging procedure. First, one needs to fill a small inner packet with blended herbs, and then put the packet into the Zhuang brocade pouch, and tighten the drawstring to make it tight. When the fragrance decreases, the users do not throw away the whole sachet. They take out the now spent inner packet and replace it with a new one. This use-regenerate-reuse cycle is important for improving the traditional use-and-dispose pattern of sachets. This reduces far more single-use waste and prolongs the life span of the product. This refillable structural design is one of the contributions of the present study in the field of environmentally oriented sachet design. The indirect way to the protection of the environment is achieved through a careful material choice. As indicated in Figure 7, the sachet uses an internal packet made from a breathable, biodegradable non-woven fabric, which is made from polyester and viscose fibers. This lining has enough durability to protect the herbs and also permit aroma diffusion. However, it decomposes naturally once it has been disposed. Hence, it minimizes the dependence of non-degradable plastics. The herbal ingredients themselves are obtained from green and sustainable farming in Yulin. The spices that do not meet quality requirements for sachet usage are used as natural insect repellants or soil conditioners. This further contributes to a local and low-waste cycle of resources. Even when sachets are finally discarded, the combination of the natural herbal fillings and biodegradable inner materials ensure minimum long-term impact to the soil and water ecosystems. Conclusions and Policy Implications This study focused the Yù fragrance sachet featuring Zhuang brocade as a cultural product and economically viable commodity in the spice industry in Yulin. Based on the three-level theory of emotional design and KANO model, it translated the cultural identity and traditional fragrance of Yulin (鬱) and the aesthetic of textile and local story into a systematic design specification. At the visceral level, combining traditional Zhuang brocade motifs can increase the aesthetic appeal, reinforce the cultural identity, and support the product differentiation and high pricing. At the behavioral level, medicinal efficacy, fragrance persistence and portability are important to consumer satisfaction and repeat purchases. Furthermore, the ergonomic shapes, the flexible wearing possibilities and the digital traceability improve the usability and reach the market. At the reflective level, it is important to have customization workshops in the high footfall areas (such as Yulin Shizi Street and the Yulin International Spice Market). They associate the design of the sachet with tourism and cultural education. Furthermore, agricultural spices are converted into travelable cultural items. Environmental sustainability is built into a refillable drawstring structure that promotes a use-regenerate-reuse cycle. In addition, it does the use of biodegradable inner packets, the source of green materials, and the use of substandard spices. From a policy point of view, some implications arise. First, cultural and tourism authorities are encouraged to jointly create and scale up design services that are experiential. The sachet-making should be placed as a critical component of the cultural tourism. Second, innovation funding should be given to small- and medium-sized enterprises in the adoption of smart packaging and traceability technologies. These increase transparency and branding of the product. Third, the green-certified spice farming should be encouraged, especially through public-private partnerships. This assures and provides security of supply of good quality of raw materials. More generally, the use of principles of emotional design in rural industries can serve as a replicable model for strengthening local cultural identity and cultural revitalization. It also has the added benefit of expanding local employment and local revitalization, as well as promoting low-carbon and low-waste rural development. Declarations Author Contribution TC.T.: Conceptualization, methodology, supervision, project administration, writing—original draft, and writing—review and editing.T.Y.: Methodology, formal analysis, validation, and writing—review and editing.U.U.: Theoretical analysis, literature review, writing—review and editing, and international perspective and academic revision.W.L.: Design development, visualization, cultural product design translation, and writing—review and editing.Y.W.: Investigation, data curation, questionnaire administration, resources, and writing—review and editing.All authors have read and agreed to the published version of the manuscript Ethical Approval Statement : This study was reviewed and approved by the Ethics Committee of Yulin Normal University (Approval No: [您的审批编号]; approval date: 2025-05-01). All procedures were conducted in accordance with relevant guidelines and regulations for research involving human participants. Data Availability: The data supporting the findings of this study have been provided to the journal as supplementary materials for peer review. These materials include the raw questionnaire data exported from the Wenjuanxing online survey platform, the system-generated questionnaire report, and supporting reliability, validity, and KANO analysis documents. Further information may be made available from the corresponding author upon reasonable request, subject to ethical and privacy considerations. Informed Consent Statement ： Informed consent was obtained from all participants prior to participation. As this was an online survey, participants indicated their consent by agreeing to proceed after reading the study introduction on the first page. Consent was obtained between 30 May 2025 and 30 December 2025. References Asadollahi, A., Khoobdel, M., Zahraei-Ramazani, A., Azarmi, S., & Mosawi, S. H. (2019). 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Hierarchical analysis of regional cultural and creative product demand based on fuzzy Kano model. E3S Web of Conferences, 179 , Article 02007. https://doi.org/10.1051/e3sconf/202017902007 Zhou, X., Sriruksa, K., & Sriruksa, A. (2025). Developing an emotional design strategy model for souvenirs: The case of Guangdong paper cutting. International Journal of Environmental Sciences , 11(6), 352–367. https://doi.org/10.64252/w9n6xe59 Zhu, X., & Cho, J. H. (2024). Evaluating demand indicators for marine tourism souvenirs in Busan tourism area: An approach using the KANO model and the analytic hierarchy process. Asia-Pacific Journal of Convergent Research Interchange , 10(7), 145–158. https://doi.org/10.47116/apjcri.2024.07.11 Zou, Y., Zhao, C., Childs, P., Luh, D., & Tang, X. (2025). User experience design for online sports shoe retail platforms: An empirical analysis based on consumer needs. Behavioral Sciences , 15(3), Article 311. https://doi.org/10.3390/bs15030311 Table Table 6 is available in the Supplementary Files section. Additional Declarations No competing interests reported. Supplementary Files Table6.docx Cite Share Download PDF Status: Under Revision Version 1 posted Editorial decision: Revision requested 23 Apr, 2026 Reviews received at journal 17 Apr, 2026 Reviews received at journal 05 Apr, 2026 Reviewers agreed at journal 29 Mar, 2026 Reviewers agreed at journal 28 Mar, 2026 Reviewers agreed at journal 27 Mar, 2026 Reviewers invited by journal 27 Mar, 2026 Editor assigned by journal 27 Mar, 2026 Editor invited by journal 24 Mar, 2026 Submission checks completed at journal 20 Mar, 2026 First submitted to journal 20 Mar, 2026 You are reading this latest preprint version Research Square lets you share your work early, gain feedback from the community, and start making changes to your manuscript prior to peer review in a journal. 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Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-8986423","acceptedTermsAndConditions":true,"allowDirectSubmit":false,"archivedVersions":[],"articleType":"Article","associatedPublications":[],"authors":[{"id":613997605,"identity":"ec68073e-8d2f-46ed-bd01-e25128b0edf4","order_by":0,"name":"Yacai Tian","email":"","orcid":"","institution":"Jiangxi Normal University","correspondingAuthor":false,"prefix":"","firstName":"Yacai","middleName":"","lastName":"Tian","suffix":""},{"id":613997606,"identity":"6c2e7ab6-5359-4fa9-8305-ade6b067170b","order_by":1,"name":"Li Wei","email":"","orcid":"","institution":"Yulin Normal University","correspondingAuthor":false,"prefix":"","firstName":"Li","middleName":"","lastName":"Wei","suffix":""},{"id":613997607,"identity":"06b0ea23-8a7b-4542-b10e-9c72f9715494","order_by":2,"name":"Utai Uprasen","email":"","orcid":"","institution":"Pukyong National University","correspondingAuthor":false,"prefix":"","firstName":"Utai","middleName":"","lastName":"Uprasen","suffix":""},{"id":613997608,"identity":"55058761-70b8-4bbf-88d9-5a69f2e8516f","order_by":3,"name":"Yan Tan","email":"data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAZAAAAAyAQMAAABI0h/eAAAABlBMVEX///8AAABVwtN+AAAACXBIWXMAAA7EAAAOxAGVKw4bAAAAwklEQVRIiWNgGAWjYPACGwY+EMVDjFqoojQGNlK1HCZBiz372WMSP3ecT2yTSGB88LaNQd6coC08eWmSvWdug7QwG85tYzDc2UDQYTlmErxtYC1s0rxtDAkGBwhp4X9jJvm37RxIC/tv4rRI5JgBDT8AtoWZOC033hhby7YlG7fxPGyWnHNOwnADIS3s/TmGN9+22cn2sycf/PCmzEaeoC1AwCIBJBwbGBgbgLQEYfVAwPwBSNgTpXQUjIJRMApGJgAAT885EvcUa4gAAAAASUVORK5CYII=","orcid":"","institution":"Yulin Normal University","correspondingAuthor":true,"prefix":"","firstName":"Yan","middleName":"","lastName":"Tan","suffix":""}],"badges":[],"createdAt":"2026-02-27 09:54:24","currentVersionCode":1,"declarations":"","doi":"10.21203/rs.3.rs-8986423/v1","doiUrl":"https://doi.org/10.21203/rs.3.rs-8986423/v1","draftVersion":[],"editorialEvents":[],"editorialNote":"","failedWorkflow":false,"files":[{"id":106723831,"identity":"b1070fc5-8e63-4f4b-9a9b-28ac65fc10c8","added_by":"auto","created_at":"2026-04-12 18:16:17","extension":"png","order_by":1,"title":"Figure 1","display":"","copyAsset":false,"role":"figure","size":1067117,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cstrong\u003eEmotional Design Flowchart for the Yù Fragrance Sachet\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eSource: Developed by the authors based on integrated Emotional Design and KANO model theories.\u003c/p\u003e","description":"","filename":"1.png","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/b0dec61111d3269dd88df11e.png"},{"id":105931147,"identity":"c2bccc79-239c-44ee-8174-013a5a2677d6","added_by":"auto","created_at":"2026-04-01 14:12:56","extension":"png","order_by":2,"title":"Figure 2","display":"","copyAsset":false,"role":"figure","size":940382,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cstrong\u003eBetter–Worse Coordinate Quadrants of the KANO Model\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eSource: Developed by the authors based on the Better–Worse coefficient analysis of 359 valid KANO questionnaire responses.\u003c/p\u003e","description":"","filename":"2.png","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/712f29c2eee6b33a0e67f743.png"},{"id":105931161,"identity":"a951e4aa-9df7-4af1-8d71-0e39be027c05","added_by":"auto","created_at":"2026-04-01 14:12:56","extension":"png","order_by":3,"title":"Figure 3","display":"","copyAsset":false,"role":"figure","size":1198177,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cstrong\u003eTypes of Portability Design\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eNote: Developed and designed by the authors to demonstrate the practical application of portability requirements in the Yù fragrant sachet prototypes.\u003c/p\u003e","description":"","filename":"3.png","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/2e1666e9a3636b003e8ff81d.png"},{"id":105931178,"identity":"64e41583-9817-4db0-8df9-8781d856e287","added_by":"auto","created_at":"2026-04-01 14:13:04","extension":"png","order_by":4,"title":"Figure 4","display":"","copyAsset":false,"role":"figure","size":918782,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cstrong\u003eTechnology-Driven Interactive Module\u003c/strong\u003e\u003c/p\u003e","description":"","filename":"4.png","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/59ec8b20b2ab7c5affef4f1d.png"},{"id":105931149,"identity":"aafccdc3-ed0b-4475-9bcd-558f4462bce2","added_by":"auto","created_at":"2026-04-01 14:12:56","extension":"png","order_by":5,"title":"Figure 5","display":"","copyAsset":false,"role":"figure","size":1213523,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cstrong\u003eDiverse Service Offerings\u003c/strong\u003e\u003c/p\u003e","description":"","filename":"5.png","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/a9eebbcb8ed86ac4da0ffde5.png"},{"id":105931156,"identity":"46bc0d94-36f0-477e-b0e6-b05f5c5cbb72","added_by":"auto","created_at":"2026-04-01 14:12:56","extension":"png","order_by":6,"title":"Figure 6","display":"","copyAsset":false,"role":"figure","size":405408,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cstrong\u003eHandmade Sachet Packaging Process\u003c/strong\u003e\u003c/p\u003e","description":"","filename":"6.png","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/457dd0ac89b934e032520343.png"},{"id":105931167,"identity":"4e568f21-d716-4939-ba42-410c42d638f3","added_by":"auto","created_at":"2026-04-01 14:12:58","extension":"png","order_by":7,"title":"Figure 7","display":"","copyAsset":false,"role":"figure","size":483116,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cstrong\u003eEco-Friendly Materials Used in the Yù Sachet\u003c/strong\u003e\u003c/p\u003e","description":"","filename":"7.png","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/e8b30d00b9f4ed1197656ae1.png"},{"id":106725339,"identity":"705d6b61-fb3c-46dd-a58a-4d22cae9e041","added_by":"auto","created_at":"2026-04-12 18:32:31","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":7720164,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/bbd51002-78a5-4b80-b8e0-cfe1bda0fae5.pdf"},{"id":105931180,"identity":"4e8b6f2c-96ef-4934-aea4-b50fc7f10e96","added_by":"auto","created_at":"2026-04-01 14:13:04","extension":"docx","order_by":1,"title":"","display":"","copyAsset":false,"role":"supplement","size":409479,"visible":true,"origin":"","legend":"","description":"","filename":"Table6.docx","url":"https://assets-eu.researchsquare.com/files/rs-8986423/v1/8590672d22eeb09963e0bf06.docx"}],"financialInterests":"No competing interests reported.","formattedTitle":"Emotional Design for Ethnic Cultural Products: Development of the Yù Fragrant Sachet Featuring Zhuang Minority Brocade","fulltext":[{"header":"Research Highlights","content":"\u003cul\u003e\n \u003cli\u003eExtends a three-level emotional design model customized to the Zhuang brocade sachets.\u003c/li\u003e\n \u003cli\u003eDerived twelve fine-grained requirements tailored to brocade-based fragrant sachets.\u003c/li\u003e\n \u003cli\u003eProposes a KANO-based framework for the emotional design of ethnic cultural products.\u003c/li\u003e\n \u003cli\u003eApplies user-centered design to innovate the Y\u0026ugrave; fragrant sachet using local heritage.\u003c/li\u003e\n \u003cli\u003eDirectly integrates environmental sustainability into cultural product design.\u003c/li\u003e\n \u003cli\u003eEnhances cultural identity and market value through emotional design strategies.\u003c/li\u003e\n \u003cli\u003eOffers a replicable design approach for rural revitalization through cultural products.\u003c/li\u003e\n\u003c/ul\u003e"},{"header":"Introduction","content":"\u003cp\u003eIn the context of rapid urbanisation and consumerism, traditional cultural products are increasingly threatened of being marginalised (Theurillat \u0026amp; Graezer, 2022). Despite their great historical depth and symbolic value, many have difficulties with contemporary consumers. This is because of outdated modes of expression, weak interaction design and lack of emotional interaction. This disconnect not only weakens their cultural communicative power, but also restricts the sustainable development of relevant cultural and rural industries (Li et al., \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). The challenge is especially acute in ethnic minority areas, where traditional crafts have to be revitalized in ways which at the same time preserve the heritage, address market logics and contribute to a sustainable environment (Ma \u0026amp; Roosli, \u003cspan citationid=\"CR25\" class=\"CitationRef\"\u003e2025\u003c/span\u003e). Emotional design is a promising answer to this aspect. Instead of focusing solely on function and efficiency, it puts users' affective responses at the forefront in perception, interaction and reflection. For the cultural products, such emotions reach beyond aesthetics and include memory, identity, belonging and pride and so become critical in bridging tradition and modernity.\u003c/p\u003e \u003cp\u003eOne of the prefecture-level cities of China, Yulin, Guangxi, offers a unique context in which to examine this issue. Guangxi is home to the largest Zhuang ethnic population in China. They are known for their rich cultural heritage and their symbolic practices. Zhuang brocade (\u003cb\u003e壮锦\u003c/b\u003e) is one of the four best-known brocade styles in China. It is a nationally recognized intangible cultural heritage, which is full of complex visual narrative and ethnic identity (Ni et al., \u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2024\u003c/span\u003e; Tian \u0026amp; Sikka, \u003cspan citationid=\"CR35\" class=\"CitationRef\"\u003e2024\u003c/span\u003e). At the same time, Yulin has become the \u0026ldquo;Spice Capital of the World\u0026rdquo;. It is a central hub for national spice trade (Guangxi Zhuang Autonomous Region Government, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2024\u003c/span\u003e). The combination of brocade craft and aromatic culture forms a unique multisensory base for the development of emotionally interesting ethnic cultural products. This includes the fragrant sachets that have a visual, tactile and olfactory combination.\u003c/p\u003e \u003cp\u003eRecent studies increasingly link emotional design with the preservation and revitalization of intangible cultural heritage (ICH), showing how design innovation can strengthen cultural identity, enhance user engagement, and support rural development (Vaidya \u0026amp; Kalita, \u003cspan citationid=\"CR38\" class=\"CitationRef\"\u003e2021\u003c/span\u003e). Emotional elements\u0026mdash;such as sensory appeal, cultural symbolism, and narrative expression\u0026mdash;shape how users perceive and value ICH-related products and help translate traditional cultural resources into social and economic benefits, particularly within rural revitalization initiatives (Yu et al., \u003cspan citationid=\"CR45\" class=\"CitationRef\"\u003e2022\u003c/span\u003e; Zeng \u0026amp; Jin, \u003cspan citationid=\"CR46\" class=\"CitationRef\"\u003e2024\u003c/span\u003e). However, most existing work on cultural creative products, especially brocade-based products, remains at the level of the broad three-level model\u0026mdash;visceral, behavioral, and reflective. Even when emotional requirements are discussed, they are rarely operationalized across all three levels in a product-specific manner. The first research gap is therefore the lack of concrete, product-level design frameworks that systematically apply emotional design to a specific handcrafted, ICH-derived object and show how detailed design decisions\u0026mdash;such as materials, patterns, storytelling, fragrance composition, and user interaction\u0026mdash;can measurably enhance user affinity, cultural connection, and market appeal (Zhou et al., \u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e2025\u003c/span\u003e; Jiang \u0026amp; Li, \u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e2024\u003c/span\u003e).\u003c/p\u003e \u003cp\u003eA second limitation emerges around environmental sustainability. Existing studies on cultural innovative products, including brocade items and fragrant sachets, tend to address sustainability indirectly, emphasizing natural materials, cultural continuity, or product longevity as conceptual proxies for ecological responsibility (Hou, \u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e2020\u003c/span\u003e; Deng, \u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e2022\u003c/span\u003e; Liang et al., \u003cspan citationid=\"CR21\" class=\"CitationRef\"\u003e2025\u003c/span\u003e; Zheng \u0026amp; Ke, \u003cspan citationid=\"CR53\" class=\"CitationRef\"\u003e2025\u003c/span\u003e; Yan et al., \u003cspan citationid=\"CR44\" class=\"CitationRef\"\u003e2024\u003c/span\u003e). Explicit considerations of the eco-design, like material biodegradability, refillable structure, or low-waste life cycles, are rarely incorporated into the fundamental structure of emotional design. Consequently, the second research gap is the lack of research that directly and systematically structures eco-friendly cultural products, which design logic is directed to environmental sustainability and especially in ethnic and rural contexts.\u003c/p\u003e \u003cp\u003eThis research fills in these two gaps through the development of design of the Y\u0026ugrave; fragrant sachet with Zhuang minority brocade. First, it proposes an emotional design strategy based on an expanded three-level theory of emotional design, in combination with the KANO model to derive and prioritize twelve fine-grained emotional requirements on three different dimensions: visceral, behavioral and reflective. In doing so, it provides a concrete, product-level emotional design framework that connects specific design decisions in visual language, fragrance composition, modes of interaction, and elements of narrative to user needs and market positioning. Second, the sachet is conceptualized as an explicitly eco-friendly product: inner materials are biodegradable, green sources of herbs are used, and a refillable structural design are incorporated from the very beginning, incorporating environmental sustainability as a direct design goal rather than a secondary, conceptual attribute. These contributions illustrate how emotional design can be used to simultaneously support cultural revitalization, regional branding and low-waste development in an underdeveloped ethnic region.\u003c/p\u003e \u003cp\u003eThe rest of this article is organized as follows. Section 2 is a review of the literature on emotional design, cultural and creative products and environmental sustainability, focusing especially on ICH and ethnic crafts. Section 3 describes the research design and methodology, the theoretical framework, data collection and analytical procedures adopted to elicit and classify user emotional requirements. Section 4 shows the empirical results, presenting a detailed description of the emotional requirement categories obtained from the KANO analysis. Section 5 discusses the resultant emotional and eco-design strategies that were applied in the development of Y\u0026ugrave; fragrant sachet featuring Zhuang minority brocade. Section 6 concludes with some key findings and policy implications on the topic of emotional design of ethnic cultural products.\u003c/p\u003e"},{"header":"Literature Reviews","content":"\u003cp\u003e\u003cstrong\u003eEmotional Design and Cultural Creative Products\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eNorman\u0026apos;s three-level emotional design model describes how products trigger responses in the user at the visceral, the behavioral, and the reflective levels (Norman, 2004). These three levels have been widely applied in different types of products, including healthcare and pharmaceutical products (Feng et al., 2024; Patel \u0026amp; Rohan, 2017), fitness and sports technologies (Zou et al., 2025), 3D printed interactive products (Lim, 2014), and digital interfaces and interactive picture books (Zhang, 2025; Liu et al., 2023; Wang et al., 2021). Their use is a reflection of a growing emphasis on emotionally informed and user-centered design that pays attention to multiple layers of emotional engagement in order to support effective and meaningful product development. Later reviews also indicate that emotion is now considered as a central, rather than secondary, design parameter (Vaidya \u0026amp; Kalita, 2021).\u003c/p\u003e\n\u003cp\u003eThe use of Norman\u0026rsquo;s framework to cultural and creative products constitutes an important intersection between design, cultural meaning and experience of emotion. The design of cultural and creative products is expected to transcend simple functionality in order to create emotional identity and cultural resonance. Yu et al. (2022) empirically demonstrate in the context of Chinese cultural and creative products that consumers\u0026apos; preferences and purchase intentions are significantly affected by emotional design criteria, although the effects are the result of complex interaction between design attributes and user cognition. Similarly, Tsang et al. (2022) use an evaluative model to analyze Palace Museum cultural products and they conclude that cultural integration, originality, and other attributes such as utility, and fashionability, are significant factors in user satisfaction.\u003c/p\u003e\n\u003cp\u003eAt the visceral level, design elements, such as color, texture, and visual style, have a major effect on immediate emotional responses. Hou (2020) points out that sensory cues that are embedded in the product design can significantly influence user preferences, and this is particularly true for cultural products that rely heavily on aesthetic and symbolic expression. Tu et al. (2019) further demonstrate that visually appealing cultural products that have a heritage and cultural context attract more consumer interest and purchase intentions, illustrating the importance of making a good first impression in the cultural and creative markets.\u003c/p\u003e\n\u003cp\u003eAt the behavioral level, usability and functional experience are the areas of focus. Elliott and Nakata (2013) highlight that intuitive and effective interactions are critical for products that are designed for a diverse and global market. In the context of cultural product design, Wang and Gu (2020) have employed analytic hierarchy processes to ensure that product functionality is in line with consumer expectations, in order to allow cultural meaning to be transferred through practical use. Their findings, in conjunction with those of Tsang et al. (2022), indicate that when usability, utility, and cultural storytelling are aligned, users will have more enjoyment, satisfaction, and engagement with cultural and creative products.\u003c/p\u003e\n\u003cp\u003eThe reflective level includes personal meaning, cultural identity and emotional attachment for the long term. Zhang and Wen (2020) for example, find that products that combine local culture and historical narratives build pride and strengthen community ties. Zhao (2021) similarly demonstrates the value of cultural symbolism within design for the in-depth emotional resonance and brand loyalty. Hou (2020) suggests that the integration of local elements serves to strengthen cultural identity, which manifests as an important competitive advantage in the global market, while Kang and Nagasawa (2023) show that Kansei-based methods can be used to translate regional cultural characteristics into emotionally appealing forms of products.\u003c/p\u003e\n\u003cp\u003eIn this context, the heritage-based and rural cultural products have become an important field of application. Norman\u0026rsquo;s three-level concept has been employed in deriving design guidelines for heritage-based cultural products, such as Guangdong paper-cutting, when developing emotional design strategies for cultural tourism souvenirs (Zhou et al., 2025). Kong (2024) argues that rural revitalization is reinforced with regional cultural symbols being creatively transformed into modern designs, thus promoting cultural identity, improving tourism experiences and raising product value, as well as supporting sustainable rural industries and long-term cultural inheritance. At the same time, intangible cultural heritage (ICH) is also increasingly being framed as a strategic resource for rural revitalization, since traditional handicrafts can be a support to local employment and community development. Correspondingly, the research of design and branding is starting to link design for emotion explicitly to cultural development in rural areas (Cerquetti et al., 2022). Zhao and Zhang (2024) use branding and design methods to revitalize traditional crafts and integrate ICH into the design of contemporary products, highlighting its role in China\u0026apos;s rural revitalization strategies. In addition, Zeng and Jin (2024) demonstrate that artistic design with the help of AI can customize emotional and aesthetic features to craft appealing and resonant rural cultural brands. These studies provide an example of the convergence of visceral, behavioral, and reflective levels of design to create a multifaceted approach to the development of cultural and creative products. Emerging technologies help fuse the traditional culture with the modern forms and interactions, therefore enhancing the emotional expression in cultural products (Meng, 2021; Liang, 2022; Zeng \u0026amp; Jin, 2024).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eEmotional Design of Cultural Creative Products and Environmental Sustainability\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eResearch on emotional design in cultural and creative products frequently refers to sustainability and environmental concerns, but usually in an indirect rather than product-specific manner. Hou (2020) adopts Norman\u0026rsquo;s emotional design framework to organize cultural and creative product design around user experience and emotional resonance. Emotional design is framed as a path to sustainable development by integrating regional cultural symbols, materials, and narratives with contemporary lifestyles so that culturally grounded products remain attractive and are used for longer periods. In this approach, environmental sustainability is addressed only implicitly through extended product life and the reduction of short-lived, disposable souvenirs, rather than through explicit eco-friendly product redesign.\u003c/p\u003e\n\u003cp\u003eDeng (2022) applies Norman\u0026rsquo;s three-level emotional design to \u0026ldquo;blind box\u0026rdquo; cultural products and argues that sustainable products should follow principles of product reduction, environmental sustainability, long-term efficiency, and health. The study recommends cradle-to-cradle thinking and life-cycle assessment so that materials can circulate in closed loops. These ideas clearly embed environmental sustainability at the level of design principles, yet the article does not present a specific cultural creative product that has been redesigned to reduce environmental impact. Sustainability appears as a conceptual guideline\u0026mdash;mainly through calls for durability and recyclability\u0026mdash;rather than as the demonstrated outcome of a concrete eco-design case.\u003c/p\u003e\n\u003cp\u003eA similar pattern is found in the literature concerning fragrant sachets. Liang et al. (2025) build an ontology-based knowledge graph for Qingyang sachets for long-term digital preservation and reuse of embroidery heritage. Their focus is cultural and informational sustainability, and whilst such tools may provide the means for future environmentally conscious redesign based on low impact practices. The study itself does not alter sachet products in ecological terms. Zheng and Ke (2025) provide a review of Qingyang sachets and highlight how materials, life cycles and environment are key elements in sustainable handicrafts. They point out natural herbal fillings, focus on the life span of the products, and environmentally sensitive production processes. However, these contributions are still largely descriptive and advocacy-based, describing traditional practices but not suggesting a modern-day eco-design approach, or an empirically tested sachet redesigned for environmental sustainability.\u003c/p\u003e\n\u003cp\u003eFor brocade-based cultural products, Yan et al. (2024) analyze the decline and redevelopment of Guangxi Zhuang brocade and propose the sustainable development strategies for it. Their recommendations emphasize increased public awareness, better design and marketing, and the association of brocade production with tourism and community development. Environmental sustainability is touched upon primarily in terms of the sustainability of the ongoing use of natural fibers and plant-based dyes and the long-term viability of handicraft production under a broad design for sustainability perspective. The study is not a design or assessment of a brocade product where environmental sustainability is the main objective, or where specific eco-efficiency measures in terms of materials and production processes are introduced.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eKANO Model and User Requirements in Cultural Creative Products\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe customer requirements model KANO, which is widely used to classify customer requirements, is divided into basic (must-be), performance (one-dimensional), excitement (attractive), indifferent, and reverse types (Shahin et al., 2017). This framework allows prioritization of features that have the greatest impact on user satisfaction, which is increasingly being used when developing cultural and creative products.\u003c/p\u003e\n\u003cp\u003eEarly applications demonstrate how the KANO model can be combined with affective and user-centred design methods. Wang and Ju (2013) combined KANO with an emotional product development methodology in order to capture user expectations and increase emotional engagement. Building upon this view, Qi et al. (2025) used grounded theory and KANO to determine the key needs in cultural creative products (e.g., emotional identification, personalization, and uniqueness) and assign them to basic, performance, and excitement categories in order to match cultural expression with consumer desire.\u003c/p\u003e\n\u003cp\u003eFollowing research expands KANO to particular contexts of souvenirs and cultural products. Jiang and Li (2024) used hierarchical analysis, the KANO model, and Better-Worse analysis in Changsha\u0026apos;s cultural souvenirs, and found heterogeneous cultural value evaluation of creativity, cultural symbolism, and practical utility. Zhu and Cho (2024) used a combination of KANO and AHP (Analytic Hierarchy Process) to differentiate basic, performance and excitement attributes of marine tourism souvenirs, which helps to clarify where to focus innovation. Similarly, Hou, et al. (2025) applied KANO for classifying user requirements of museum bronze cultural creative products and translated the classifications into design priorities for sustainable product development. Wang (2023) performs KANO model based on two-dimensional questionnaires collected from visitors at the Fang Zhimin Memorial Hall to classify the attributes of cultural products. Findings show that story, color symbolism and revolutionary themes are important attractive or necessary qualities that have a strong effect on increasing satisfaction and cultural resonance.\u003c/p\u003e\n\u003cp\u003eMore sophisticated analyses consider more advanced methods for dealing with uncertainty and emotional response. Zhong et al. (2020) used fuzzy KANO model to analyze the demand of cultural products in the region, which can capture the subtle perception of culture more accurately. Deng and Wang (2019) used an EEG technology and KANO together to trace the emotional responses of users to the cultural design elements, and to find those features that most effectively contribute to experiential satisfaction.\u003c/p\u003e\n\u003cp\u003eIn old and artistic contexts KANO has been used to identify the cultural attributes with resonance. Song and Yu (2022) investigated the preferences on the Tongshan wood carvings and Wang and Song (2023) used KANO in digitalising the Nuo masks in Guizhou, in order to help design culturally grounded but innovative masks. Going beyond the physical objects, Kuo et al. (2023) combined the method of evaluation grid with a continuous fuzzy KANO model in order to analyze aesthetic preferences for Taiwanese landscape paintings, which showed the relationship between cultural appreciation and consumer satisfaction in this model.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eZhuang Brocade Ethnic Crafts and Product Innovation\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eZhuang brocade is one of the four famous brocades in China. It was included in the first batch of national intangible cultural heritage items in 2006. It is deeply rooted in the daily life and identity of the Zhuang people, with patterns and colors having a cosmological, historical, and ethnic symbolism. However, Guangxi Zhuang brocade is faced with a declining inheritance, weak innovation, low market demand, and disappearing cultural identity. It needs to be educated, modernized disseminating, and design innovation to ensure sustainable development (Lan and Tan, 2023). With regard to the research on Zhuang brocade, the research on Zhuang brocade has been increasing in recent years, both in terms of the research on the cultural inheritance and the research on the contemporary design. Using Kansei engineering Huang and Pan (2021) shows how the colors, patterns and textures of Zhuang brocade evoke particular emotional responses, which in turn can be used as a foundation for translating these cultural traits into the design of modern products. It directly supports visceral level needs such as material texture, pattern design, and culturally meaningful color coordination. Ni et al. (2024) construct a digital data of Zhuang brocade colors and patterns and create an algorithm of pattern-generation. They show that with the support of computational techniques, traditional patterns can be easily integrated into new settings. At the same time, they retain their aesthetic features-facilitating the design of brocade patterns, color-coordination, and tailored cultural-products development. Han et al. (2025) investigate the symbolic meaning of Zhuang brocade patterns. They suggest the approaches to the graphic transformation to fit the traditional motifs in the modern use of the design. Based on applications of the three-level emotional design of Norman to Zhuang-brocade products, with a focus on interactive technologies (digital displays, QR codes) to promote users\u0026rsquo; behavioral-level interaction, Chen (2016) argues that effective protection of Zhuang brocade skills can be supported through the well-designed cultural products.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eResearch Gaps and Contributions\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe growing literature relating emotional design to the preservation and revitalization of intangible cultural heritage (ICH) demonstrates that sensory appeal, symbolism, and narrative expression can promote user engagement and create social and economic advantages in a rural area (Vaidya and Kalita, 2021; Yu et al., 2022; Zeng and Jin, 2024). However, for cultural and creative products\u0026mdash;particularly brocade-based items\u0026mdash;most studies remain at the level of general discussion of Norman\u0026rsquo;s three emotional layers. They seldom translate these ideas into concrete, object-specific design schemes. In the case of Zhuang brocade, research has largely focused on cultural representation, pattern interpretation, or sectoral development, with limited attention to systematically deriving product features from user emotional requirements (Huang \u0026amp; Pan, 2021; Ni et al., 2024; Chen, 2016). This reveals a first gap: the lack of product-level emotional design frameworks that show how decisions on materials, patterns, storytelling, fragrance composition, and interaction are grounded in, and evaluated against, user emotions (Zhou et al., 2025; Jiang \u0026amp; Li, 2024).\u003c/p\u003e\n\u003cp\u003eA second gap concerns environmental sustainability. Studies on cultural innovative products, including brocade items and sachets, typically treat sustainability indirectly through natural materials, cultural continuity, or product longevity, without embedding ecological criteria into the core design logic (Hou, 2020; Deng, 2022; Liang et al., 2025; Zheng \u0026amp; Ke, 2025; Yan et al., 2024).\u003c/p\u003e\n\u003cp\u003eThis work fills these gaps in two aspects. First, it develops an object-level emotional design framework for the Y\u0026ugrave; fragrant sachet featuring Zhuang minority brocade through the application of an extended the three-level theory of emotional design and the KANO model to derive and prioritize twelve concrete emotional requirements. Second, it integrates eco-design principles (biodegradable inner components, green sourcing of herbs, and a refillable structure) into the product design. This demonstrate that emotional and environmental goals can be jointly operationalized in ethnic cultural product design.\u003c/p\u003e"},{"header":"Research Design and Methodology","content":"\u003cp\u003e\u003cstrong\u003eNorman\u003c/strong\u003e\u003cstrong\u003e\u0026rsquo;\u003c/strong\u003e\u003cstrong\u003es Three-Level Emotional Design Model\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe current research explores the emotional demands of users in relation to the Y\u0026ugrave; fragrant sachet with Zhuang minority brocade, which is a cultural product that is entrenched in the textile and fragrance culture of the Yulin City in China. User desires are analyzed using three levels of emotional processing to provide a comprehensive understanding of emotional engagement in product design. Based on this approach, this study proposes an expanding three-level theory of emotional design. The visceral\u0026ndash;behavioral\u0026ndash;reflective structure is implemented through twelve fine-grained user requirements, which are customized to emotionally charged cultural products. This top-down approach initially defines the emotional and cultural goals at each level. It then maps these goals onto KANO categories and their corresponding design solutions.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTo translate the framework into empirical work, a field research was conducted at the Y\u0026ugrave;lin spice market. The authors connected directly with local aromatic materials by exploring olfactory and interviewing the vendors. The obtained information about herbal characteristics and their cultural connections were synthesized and refined into twelve user requirement items. The summary is in Table 1. These connect cultural habits with structured emotional design basis.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eTable 1 Twelve User Requirements for the Y\u0026ugrave; Fragrant Sachet Featuring Zhuang Minority Brocade\u003c/p\u003e\n\u003cdiv align=\"\"\u003e\n \u003ctable border=\"0\" cellspacing=\"0\" cellpadding=\"0\" width=\"623\"\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 113px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eSub-dimension\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eRequirement Item\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eRequirement Indicator and Description\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 113px;\"\u003e\n \u003cp\u003eVisceral Level\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eMaterial Texture\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eFabric texture should be soft and smooth.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eBrocade Pattern Design\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eIntegration of traditional Zhuang brocade patterns (e.g., meander, ripple), adaptable to various users and contexts.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eFragrance Preference\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eCompound fragrances with Yulin characteristics (e.g., star anise + cinnamon).\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eColor Coordination\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eColor matching should follow the existing palette of Zhuang brocade.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 113px;\"\u003e\n \u003cp\u003eBehavioral Level\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eMedicinal Efficacy\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eEffects include calming the mind, aiding sleep, repelling insects, and purifying the air.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003ePortability Design\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eProper size, adjustable hanging cord, easy to carry.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eSafety and Practicality\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eMaterials should be safe, eco-friendly, and effective. Inner layer made of breathable non-woven fabric.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eTechnological Interactivity\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eQR code traceability (users can check sourcing, processing, and quality inspection of fragrance materials)\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd rowspan=\"4\" style=\"width: 113px;\"\u003e\n \u003cp\u003eReflective Level\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eCustomization Services\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eCustomized design based on user preferences.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eGift-Giving Value\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eEmbodies local cultural characteristics and conveys blessings.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eEnvironmental Consciousness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003eUse of green, recyclable materials. Inner pouch made of biodegradable materials.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 142px;\"\u003e\n \u003cp\u003eCultural Storytelling\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 368px;\"\u003e\n \u003cp\u003ePackaging and labels clearly introduce the history and craftsmanship of Yulin\u0026rsquo;s aromatic culture.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd colspan=\"3\" style=\"width: 623px;\"\u003e\n \u003cp\u003eNote: Data compiled by the authors based on field research, olfactory exploration, and vendor interviews conducted at the Y\u0026ugrave;lin spice market.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n \u003c/table\u003e\n\u003c/div\u003e\n\u003cp\u003eTable 1 shows how the operationalization of user requirements of the Y\u0026ugrave; fragrant sachet, with Zhuang minority brocade, can be implemented in the proposed three level emotional design model. It divides twelve requirements into three sub-dimensions, including visceral, behavioral, and reflective. It connects every requirement resource with a tangible indicator and description. This framework converts abstract emotional desires into visible design requirements, that can be examined in a systematic manner.\u003c/p\u003e\n\u003cp\u003eAt the visceral level, there are five requirement items that reflect the immediate sensual reactions of the users. They are material texture (soft, smooth fabric), brocade pattern design (integration of traditional Zhuang elements which are adaptable to different users), fragrance preference (compound scents with Y\u0026ugrave;lin features like star anise and cinnamon), color coordination (alignment with the Zhuang brocade scope), and medicinal efficacy (calming, sleep-aiding, insect-repellent, and air-purifying functions).\u003c/p\u003e\n\u003cp\u003eThe behavioral level consists of four items that relate to the use experience. They are portability design (suitable size, adjustable hanging cord, easy carrying), safety and practicality (environmentally friendly, materials and breathable inner layer), technological interactivity (QR-code traceability for sourcing, processing, and quality control), and customization services.\u003c/p\u003e\n\u003cp\u003eThe reflective level consists of three higher-order desires. They are gift-giving value (reflects of local cultural features and blessings), environmental awareness (green, recyclable and biodegradable materials), and cultural storytelling (packing and labeling with a clear explanation of the history and craftsmanship of Y\u0026ugrave;lin\u0026rsquo;s aromatic culture).\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eKANO Model\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eIn this work, the KANO model is integrated with emotional design theory to develop the Y\u0026ugrave; fragrant sachet featuring Zhuang minority brocade. After identifying twelve user requirements across the visceral, behavioral, and reflective levels, the KANO model is used to classify and prioritize these desires quantitatively. This integrated approach implies that emotional resonance and functional performance are systematically amalgamated into the design process.\u003c/p\u003e\n\u003cp\u003eThe use of the KANO model to design a heritage-based and widely symbolic product like the Y\u0026ugrave; sachet exemplifies its capacity to reconcile the traditional craftsmanship with the modern requirements of a user. Figure 1 indicates that the combination of the principles of emotional design and KANO analysis provides the holistic approach to designing culturally focused, user-oriented, and emotionally-related products. These could promote both cultural revitalization and economic development of rural areas simultaneously.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eQuestionnaire Design and Data Collection\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eIn accordance with the methodology described by Yu et al. (2022), a systematic classification and prioritization of user requirements of the Y\u0026ugrave; sachet were achieved by creating a structured questionnaire grounded on KANO model. The questionnaire was designed based on paired functional and dysfunctional questions in relation to the twelve user requirements that were identified during the emotional need analysis.\u003c/p\u003e\n\u003cp\u003eThe questionnaire was divided into two major parts. The initial part was a demographic section where the basic demographic data were gathered such as gender, academic discipline and occupation. The second part was a pair of KANO format questions on each of the twelve emotive design factors. As an example, the participants were questioned:\u003c/p\u003e\n\u003cp\u003e\u0026ldquo;If the sachet has a soft and smooth material texture, how satisfied are you?\u0026rdquo;\u003c/p\u003e\n\u003cp\u003e\u0026ldquo;If the sachet does not have a soft and smooth material texture, how satisfied are you?\u0026rdquo;\u003c/p\u003e\n\u003cp\u003eThe items were rated on each item based on a five-point categorical scale that is aimed at capturing the level of satisfaction of the respondents. Response choices included the following: \u0026ldquo;I like it that way,\u0026rdquo; \u0026ldquo;It must be that way,\u0026rdquo; \u0026ldquo;I am neutral,\u0026rdquo; \u0026ldquo;I can live with it that way,\u0026rdquo; and \u0026ldquo;I dislike it that way.\u0026rdquo; This format is able to be used to classify the preferences of the users accurately according to the presence or absence of certain product attributes, according to the methodology of the KANO model.\u003c/p\u003e\n\u003cp\u003eThe survey was carried out in Wenjuanxing, which is an online survey tool that is popular in China. The responses were gathered through the means of targeted peer distribution and open distribution through the digital social medi Xiaohongshu, WeChat groups, and other platforms. This is a multichannel strategy that was undertaken to get a wide sample based on age, education level, and location.\u003c/p\u003e\n\u003cp\u003eFollowing the collection of data, the responses were cleaned to eliminate invalid or incomplete responses. Then the final data was analyzed in SPSSAU. It is a statistical analysis software, which is a cloud-based platform. It allows classifying the user requirements into KANO categories and assessing the distribution and relative significance of each attribute in terms of the user satisfaction.\u003c/p\u003e"},{"header":"Empirical Results","content":"\u003cp\u003e\u003cstrong\u003eOverview of Data Collection\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThe 419 questionnaires were collected in the survey period. There were 359 valid questionnaires after 60 invalid responses (primarily because of extremely short completion times or repetitive responses) were removed. Therefore, a valid response rate of was 85.68%. The reliability and validity of the KANO questionnaire were statistically verified, with the results summarized in Table 2. Cronbach alpha coefficients of each item of KANO questionnaire were calculated to assess reliability of the instrument. The overall scale showed an alpha of 0.885, while the functional (positive) and dysfunctional (negative) question displayed alpha values of 0.821 and 0.832, respectively. All the coefficients were higher than the generally accepted value of 0.800. This indicates that it has a high level of internal consistency and proves that the questionnaire has a high degree of reliability.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable 2. Reliability and Validity of the KANO Questionnaire\u003c/strong\u003e\u003c/p\u003e\n\u003cdiv align=\"\"\u003e\n \u003ctable border=\"0\" cellspacing=\"0\" cellpadding=\"0\" width=\"623\"\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 210px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eQuestionnaire Component\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 200px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eCronbach\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cem\u003e\u0026rsquo;s\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cem\u003e\u0026nbsp;\u0026alpha; Coefficient\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eBartlett\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cem\u003e\u0026rsquo;\u003c/em\u003e\u003c/strong\u003e\u003cstrong\u003e\u003cem\u003es Test of Sphericity\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 210px;\"\u003e\n \u003cp\u003eKANO Questionnaire\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 200px;\"\u003e\n \u003cp\u003e0.885\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003e0.000***\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 210px;\"\u003e\n \u003cp\u003eFunctional Questions\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 200px;\"\u003e\n \u003cp\u003e0.821\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003e0.000***\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 210px;\"\u003e\n \u003cp\u003eDysfunctional Questions\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 200px;\"\u003e\n \u003cp\u003e0.832\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003e0.000***\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n \u003c/table\u003e\n\u003c/div\u003e\n\u003cp\u003eNote: * indicates significance at the 1% level (p \u0026lt; 0.01).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnalysis of User Profiles and Purchase Preferences\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eTo research on the emotional design and KANO-based assessment of the Y\u0026ugrave; sachet, a structured questionnaire was used and 359 valid responses were received. Table 3 gives an empirical foundation of the information about the user demographics, purchase habit, cultural awareness and expectations on the efficacy of the product. This, in turn, facilitates the ensuing categorization and prioritization of design attributes.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable 3. Analysis of User Profile and Purchase Preferences\u003c/strong\u003e\u003c/p\u003e\n\u003cdiv align=\"\"\u003e\n \u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"623\"\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 34px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eNo.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 156px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003ePreferences\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 433px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eResponses\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 34px;\"\u003e\n \u003cp\u003e1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 156px;\"\u003e\n \u003cp\u003eDemographic Characteristics\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 433px;\"\u003e\n \u003cp\u003e\u0026bull; Gender: Male 46.24%, Female 53.76%\u003c/p\u003e\n \u003cp\u003e\u0026bull; Education: Science and Engineering (STEM) 35.93%, Humanities and Social Sciences 23.12%, Business Studies 16.99%, Art and Design 16.43%, Medicine and Health Sciences 7.24%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 34px;\"\u003e\n \u003cp\u003e2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 156px;\"\u003e\n \u003cp\u003ePurchase Intentions and Motivational Drivers\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 433px;\"\u003e\n \u003cp\u003e\u0026bull; Willingness to Purchase the Y\u0026ugrave; Sachet: Willing to Buy 67.97%, Not Willing to Buy 32.03%.\u003c/p\u003e\n \u003cp\u003e\u0026bull; Motivational Factors for Purchase (Multiple Responses): Product\u0026rsquo;s Medicinal Efficacy 71.03%, Gift-Giving Value 54.32%, Cultural Connotation 52.92%, Aesthetic Design 32.59%.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 34px;\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 156px;\"\u003e\n \u003cp\u003eAwareness of Yulin Aromatic Culture\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 433px;\"\u003e\n \u003cp\u003e\u0026bull; Have a Basic Understanding of Herbal Functions: 49.58%, Heard of It: 30.92%, Familiar with Medicinal Value: 11.10%, No Awareness: 8.36%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 34px;\"\u003e\n \u003cp\u003e4\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 156px;\"\u003e\n \u003cp\u003eAnticipated Product Efficacy\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 433px;\"\u003e\n \u003cp\u003e\u0026bull; Multiple Responses: Refreshing and Focus-Enhancing Properties 84.12%, Insect-Repelling 77.99%, Stress Relief 73.54%, Improved Sleep 67.97%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 34px;\"\u003e\n \u003cp\u003e5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 156px;\"\u003e\n \u003cp\u003ePreferred Purchasing Channels\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 433px;\"\u003e\n \u003cp\u003e\u0026bull; Channels: Online Purchase 54.32%, Offline (Tourist Sites) Purchase 44.57, Other 1.11\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n \u003c/table\u003e\n\u003c/div\u003e\n\u003cp\u003eSource: Data compiled by the authors from 359 valid responses collected during the survey period.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eRegarding the demographic aspects, the sample shows gender balance, although there is a small majority of female respondents (53.76%). Educational attainments are varied with majority of the participants belonging to the science and engineering (35.93%), humanities and social sciences and business field with others being represented by art and design and health and medicine sciences. This fairly well educated and interdisciplinary profile may indicate that the Y\u0026ugrave; sachet is appropriate for both technically oriented and creative groups of users. This is beneficial in order to assess the functional performance as well as emotional experience in product design.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe intentions of purchases are encouraging. Two-thirds of the respondents (67.97%) unveil their willingness to purchase the Y\u0026ugrave; sachet, which confirms the fundamental market potential of the product. On the question of motivational driving factors, the most common answers were the medicinal effectiveness of the product (71.03%). The next following motivations include its application as a gift, and cultural implication. The aesthetic design is also listed but not as high. These trends indicate that users are sensitive to a combination of utilitarian and symbolic values. The findings therefore support an emotional design strategy that incorporates both physical health benefits as well as culturally enriched stories.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThere is a moderate awareness of the Yulin aromatic culture. About half of the respondents (49.58%) reveal they have a basic knowledge of the functions of herbs. A large percentage of the respondents have at least heard of Yulin aromatics. However, only a small percentage know how their specific medicinal value. This statistical distribution implies that there are a great number of potential users that have some cultural basis understanding, but who still need more information. It therefore indicates greater opportunities of storytelling and educational communication in packaging, branding, and digital media as a component of the reflective level of emotional design.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe anticipations of product efficacy are high and varied. The most common expectations of the respondents about the Y\u0026ugrave; sachet are refreshing and focus enhancing properties (84.12%), then insect-repelling property, stress reduction and enhanced sleep. All these expected categories are in line with the conventional properties of herbal sachets. These indicate that the users expect the product to benefit them physically (e.g., insect prevention and improved sleep) and psychologically (e.g., less stress and increased concentration). These expectations are clear indicators that guide towards defining important functional attributes in the KANO model. They also help to create multifunctional health-oriented formulations to address the practical and emotional needs of the users.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eRegarding the purchasing channel, online shopping is slightly preferred (54.32%). The purchase at tourist or cultural sites is also a significant complementary channel (44.57%). This trend highlights the necessity of a powerful web-based presence (via e-commerce and online narrative), alongside with offline experiences in cultural and tourism contexts. In general, the user profile and purchasing inclinations described in Table 3 provide valuable insights for synchronizing the functional features, emotional stimulation, and distribution ways of the Y\u0026ugrave; sachet, conform with the anticipations of the target users according to the emotional design and KANO-oriented assessment.\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnalysis of Survey Findings\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eAccording to Table 1, this section displays a Better-Worse coefficient analysis of emotional requirements for the Y\u0026ugrave; sachet. The analysis applies the Better-Worse coefficient method in conjunction with the KANO model. User requirements are prioritized based on the Satisfaction Index (SI) and the Dissatisfaction Index (DSI), which are computed by using Equations (1) and (2).\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eBetter / SI = (A+O)/(A+O+M+I) \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; (1)\u003c/p\u003e\n\u003cp\u003eWorse / DSI = -1*(O+M)/(A+O+M+I) \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;(2)\u0026nbsp;\u003c/p\u003e\n\u003cp\u003ewhere Better represents the Satisfaction Index (SI), and Worse is the Dissatisfaction Index (DSI). The F(M), F(O), F(A), and F(I) denote the proportions of Must-Be, One-Dimensional, Attractive, and Indifferent attributes, respectively.\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable 4. Distribution of Attributes Across KANO Categories\u003c/strong\u003e\u003c/p\u003e\n\u003cdiv align=\"\"\u003e\n \u003ctable border=\"0\" cellspacing=\"0\" cellpadding=\"0\" width=\"709\"\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eAttribute\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eMust-Be\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003e(M)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eOne-Dimensional\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003e(O)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eAttractive\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003e(A)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eIndifferent\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003e(I)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eReverse\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003e(R)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eQuestionable\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003e(Q)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eBetter\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eWorse\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eCategory\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eMaterial Texture\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e23.96\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e7.8\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e16.71\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e50.14\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e0.84\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.56\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e24.86\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-32.2\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eI\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eZhuang Brocade Pattern\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e32.87\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e23.12\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e9.75\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e31.48\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e2.79\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.0\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e33.81\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-57.59\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eM\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eFragrance Preference\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e35.1\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e21.73\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e7.8\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e31.75\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e3.62\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.0\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e30.64\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-58.96\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eM\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eColor Coordination\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e20.89\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e6.13\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e17.83\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e51.25\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e3.9\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.0\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e24.93\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-28.12\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eI\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eMedicinal Efficacy\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e9.19\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e23.34\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e35.38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e29.25\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e2.79\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.0\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e60.46\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-33.52\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eA\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003ePortability\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e13.65\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e20.61\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e30.08\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e27.58\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e7.8\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.28\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e55.15\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-37.27\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eA\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eSafety \u0026amp; Practicality\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e13.09\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e8.91\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e17.83\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e54.6\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e5.57\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.0\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e28.32\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-23.3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eI\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eTechnological Interactivity\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e16.43\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e43.45\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e9.75\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e28.13\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e2.23\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.0\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e54.42\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-61.25\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eO\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eCustomization Service\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e23.12\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e36.77\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e9.75\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e27.3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e3.06\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.0\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e47.99\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-61.78\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eO\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eGift-Giving Value\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e18.38\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e7.24\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e17.83\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e54.87\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e0.84\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.84\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e25.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-26.06\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eI\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eEnvironmental Consciousness\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e9.19\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e18.94\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e37.05\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e31.75\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e2.51\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.56\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e57.76\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-29.02\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eA\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 94px;\"\u003e\n \u003cp\u003eFragrance Education\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 65px;\"\u003e\n \u003cp\u003e19.78\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 105px;\"\u003e\n \u003cp\u003e6.41\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 66px;\"\u003e\n \u003cp\u003e19.5\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 72px;\"\u003e\n \u003cp\u003e52.65\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e1.39\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 83px;\"\u003e\n \u003cp\u003e0.28\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 52px;\"\u003e\n \u003cp\u003e26.35\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 57px;\"\u003e\n \u003cp\u003e-26.63\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 59px;\"\u003e\n \u003cp\u003eI\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd colspan=\"10\" style=\"width: 709px;\"\u003e\n \u003cp\u003eSource: Calculated by the authors based on the 359 valid KANO questionnaire responses using the Satisfaction Index (SI) and Dissatisfatisfaction Index (DSI) formulas.\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n \u003c/table\u003e\n\u003c/div\u003e\n\u003cp\u003eTable 4 outlines the proportions of the KANO category and SI and DSI coefficients of the twelve emotional attributes of the Y\u0026ugrave; sachet. All attributes were put into the six common KANO attributes. They are Must-Be (M), One-Dimensional (O), Attractive (A), Indifferent (I), Reverse (R), and Questionable (Q). They are further assessed concerning its contribution to user satisfaction (Better) and dissatisfaction (Worse). The outcomes indicate that there exist significant differences in the perception of the importance of various emotional attributes by the users.\u003c/p\u003e\n\u003cp\u003eCharacteristics like the Zhuang brocade pattern (32.87%), fragrance preference (35.10%) were mostly classified as must-be qualities. These indicate that users consider such characteristics as fundamental expectations. The notably substantial negative DSI values (\u0026minus;57.59 and \u0026minus;58.96) imply that the lack of these elements would seriously reduce the satisfaction of users. As a result, these features are key elements that should be included in the design of the product to address the minimum user specifications.\u003c/p\u003e\n\u003cp\u003eThe one-dimensional attributes were found to be technological interactivity (43.45%) and customization service (36.77%). They generated linear impacts on satisfaction. Improvements in these attributes directly enhance user approval, and their shortcomings significantly decrease it. These are indicated by their large Better coefficients (54.42 and 47.99) and large and negative Worse coefficients (-61.25 and -61.78). These features are thus the key performance-based features that contribute greatly to the user experience.\u003c/p\u003e\n\u003cp\u003eOther features such as medicinal efficacy (35.38%), portability (30.08%) and environmental consciousness (37.05%) are under attractive category. They can significantly please users, as their Better values are high with medicinal efficacy at 60.46. Nevertheless, their absence does not have a significant impact on satisfaction. This implies that they serve as auxiliary features that make the product more emotional and increase its overall desirability.\u003c/p\u003e\n\u003cp\u003eOn the other hand, material texture, safety and practicality, gift-giving value, and fragrance education were most specifically indifferent elements. The above-average percentages of the respondents fall into the I category. These properties have a weak effect on satisfaction or dissatisfaction and have little effect in creating or damaging emotion. As an illustration, material texture, although it has an intermediate Better score of 24.86, does not add much to the overall user perception. These attributes can therefore be given second priority during the design process without reducing the user experience.\u003c/p\u003e\n\u003cp\u003eThe Better-Worse coefficients also provide a greater insight into the strategic significance of various attributes. The Better coefficient indicates the level of satisfaction increment with the provision of an attribute and the Worse coefficient indicates the level of dissatisfaction with the lack of an attribute. Attributes that have high absolute scores in both dimensions, including technological interactivity and customization service are highly bidirectionally sensitive and thus are at the heart of the creation of the emotional values of the Y\u0026ugrave; sachet.\u003c/p\u003e\n\u003cp\u003eCollectively, the combined KANO classification and Better-Worse analysis depict a scale of design priorities of the Y\u0026ugrave; sachet. The must-be attributes and one-dimensional features are the main elements that should receive the primary focus as they affect both both satisfaction and dissatisfaction. The attractive features are not obligatory, but they provide significant possibilities to increase the user delight and enrich the emotional resonance of the product. The indifferent attributes do not play a significant role in user evaluation. Hence, they might be deprioritized in resource allocation. All in all, the analysis indicates the necessity to combine the key baseline expectations with the performance-based and delight-inducing characteristics. This creates an integrated and customer-oriented emotional design approach to the Y\u0026ugrave; sachet.\u003c/p\u003e\n\u003cp\u003eAccording to the distribution of consumer requirements regarding the Y\u0026ugrave; fragrant sachet in the Better-Worse coordinate system, the twelve emotional attributes are well categorized into four quadrants that can be related to the KANO categories in Figure 2.\u003c/p\u003e\n\u003cp\u003eFive elements are placed in the third quadrant, which represents Indifferent (I) attributes. They are made up of safety and practicality, cultural storytelling, gift-giving value, color coordination, and the texture of materials. The fact that they are located in this quadrant implies that consumers are not very sensitive to these factors. The increment of these features does not contribute much to the overall satisfaction. The second quadrant has Attractive (A) requirements. They include medicinal efficacy, environmental consciousness and portability design. These are related to high Better and relatively lower Worse values. The presence of these attributes makes the overall satisfaction stronger. However, their absence does not create significant levels of dissatisfaction. The One-Dimensional (O) requirements in the first quadrant includes technological interactivity and customization services. They have high values of Better and Worse coefficients at the same time. This suggests that consumer satisfaction increases substantially when they are present and decreases when they are not.\u003c/p\u003e\n\u003cp\u003eThe fourth quadrant shows the Must-Be (M) needs. It consists of brocade pattern design and fragrance preference. They reflect the fact that consumers regard them as basic expectations. Therefore, they do not promote satisfaction greatly in their presence, but result in dissatisfaction in their absence.\u003c/p\u003e\n\u003cp\u003eAccording to KANO theory, consumer requirements are generally prioritized in the following order, Must-Be (M) \u0026gt; One-Dimensional (O) \u0026gt; Attractive (A) \u0026gt; Indifferent (I). By applying this concept to the Y\u0026ugrave; fragrant Zhuang brocade sachet, product development should firstly be ensured that the must-be requirements (brocade pattern design and fragrance preference) are reliably met. This is because they set up the baseline of product acceptance. Next, the one-dimensional needs (technological interactivity and customization services) should be emphasized. They have a strong and mutual influence on satisfaction and can considerably increase perceived value. Then, attractive attributions (medicinal efficacy, environmental consciousness, and portability design) can be chosen and strengthened selectively to create delight and differentiate the product in the market. The indifferent requirements that can be observed in the third quadrant, by comparison, have little effects to user satisfaction. Therefore, they might be given lower priority in product design and resource allocation.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable 5. Hierarchical Ranking of Emotional Attributes\u003c/strong\u003e\u003c/p\u003e\n\u003cdiv align=\"\"\u003e\n \u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"623\"\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 185px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eType of Needs\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 256px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eEmotional Needs\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 182px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eImportance Ranking\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 185px;\"\u003e\n \u003cp\u003eMust-Be (M)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 256px;\"\u003e\n \u003cp\u003eBrocade Pattern Design\u003c/p\u003e\n \u003cp\u003eFragrance Preference\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 182px;\"\u003e\n \u003cp\u003e1st\u003c/p\u003e\n \u003cp\u003e2nd\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 185px;\"\u003e\n \u003cp\u003eOne-Dimensional (O)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 256px;\"\u003e\n \u003cp\u003eTechnological Interactivity\u003c/p\u003e\n \u003cp\u003eCustomization Services\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 182px;\"\u003e\n \u003cp\u003e3rd\u003c/p\u003e\n \u003cp\u003e4th\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 185px;\"\u003e\n \u003cp\u003eAttractive (A)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 256px;\"\u003e\n \u003cp\u003eMedicinal Efficacy\u003c/p\u003e\n \u003cp\u003eEnvironmental Consciousness\u003c/p\u003e\n \u003cp\u003ePortability Design\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 182px;\"\u003e\n \u003cp\u003e5th\u003c/p\u003e\n \u003cp\u003e6th\u003c/p\u003e\n \u003cp\u003e7th\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 185px;\"\u003e\n \u003cp\u003eIndifferent (I)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 256px;\"\u003e\n \u003cp\u003eSafety and Practicality\u003c/p\u003e\n \u003cp\u003eCultural Storytelling\u003c/p\u003e\n \u003cp\u003eGift-Giving Value\u003c/p\u003e\n \u003cp\u003eColor Coordination\u003c/p\u003e\n \u003cp\u003eMaterial Texture\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 182px;\"\u003e\n \u003cp\u003e8th\u003c/p\u003e\n \u003cp\u003e9th\u003c/p\u003e\n \u003cp\u003e10th\u003c/p\u003e\n \u003cp\u003e11th\u003c/p\u003e\n \u003cp\u003e12th\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n \u003c/table\u003e\n\u003c/div\u003e\n\u003cp\u003eCompiled by the authors based on the KANO attribute classification and the Better\u0026ndash;Worse coefficient values presented in Table 4 and Figure 2.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eOn this basis, the emotional attributes were hierarchically ranked by importance in Table 5. Must-be attributes\u0026mdash;brocade pattern design and fragrance preference\u0026mdash;occupy the first and second positions, followed by the one-dimensional attributes of technological interactivity and customization services in third and fourth place. The attractive attributes of medicinal efficacy, environmental consciousness, and portability design are ranked fifth to seventh, while the indifferent attributes\u0026mdash;safety and practicality, cultural storytelling, gift-giving value, color coordination, and material texture\u0026mdash;occupy the eighth to twelfth positions. In general, the design of the Y\u0026ugrave; fragrant sachet must, therefore, be aimed at ensuring the must-be features, strengthening the performance elements of one-dimensional, and strategically integrating the attractive characteristics. The indifferent features might be may be perceived as less significant, given that they do not substantially affect user satisfaction levels.\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eEmotional Design Strategies for the Y\u003c/strong\u003e\u003cstrong\u003e\u0026ugrave;\u003c/strong\u003e\u003cstrong\u003e\u0026nbsp;Fragrant Zhuang Brocade Sachet\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eVisceral Design: First Impressions and Aesthetic Appeal\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eVisual Aesthetics\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003eThe Y\u0026ugrave; fragrant Zhuang brocade sachet is a functional handicraft. However, it has to meet the practical and aesthetic expectations. According to the survey, Zhuang brocade pattern design is a Must-Be need. This indicates that consumers perceive it as a basic requirement rather than an optional decoration. In this regard, the outer appearance of the sachet is created through the exhaustion of traditional Zhuang motifs. \u0026nbsp;Moreover, it is designed in the way that appeals to various user groups.\u003c/p\u003e\n\u003cp\u003eZhuang brocade patterns are divided into five categories in this study. They are geometric patterns, floral patterns, animal motifs, character (calligraphic) patterns and symbolic and auspicious motifs as shown in Table 6. For younger consumers, geometric and floral patterns may be mixed with more colorful color palettes. Then, it can simplify compositions to adhere to modern visual fashion. For the older customer or for festival related products, character and auspicious motifs that provide blessings, longevity or local identity are emphasized. These create more cultural resonance and emotional attachment. Consequently, the visual language of the sachet makes the traditional symbolic meanings cohesive with differentiated aesthetic strategies for different target users.\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eDiversity of Fragrance Types\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003eAnother important element of visceral design is fragrance. In order to accommodate for individual preferences and contextual applications, the selection of the scent is systematically divided into four different fragrance notes, as outlined in Table 7.\u003c/p\u003e\n\u003col\u003e\n \u003cli\u003e\u0026nbsp;Floral and fruity notes (e.g., rose, jasmine, lavender), which have a sweet, romantic and relaxing effects\u003c/li\u003e\n \u003cli\u003e\u0026nbsp;Woody (e.g. sandalwood, agarwood), with deep, calming and grounding tones\u003c/li\u003e\n \u003cli\u003eCitrus scents (e.g. lemon, orange), with the characteristics of freshness, vitality\u003c/li\u003e\n \u003cli\u003eSpice notes (e.g. star anise, cinnamon), which are warm, stimulating and comforting.\u003c/li\u003e\n\u003c/ol\u003e\n\u003cp\u003e\u003cstrong\u003eTable 7. Common Fragrance Categories and Representative Ingredients\u003c/strong\u003e\u003c/p\u003e\n\u003cdiv align=\"\"\u003e\n \u003ctable border=\"0\" cellspacing=\"0\" cellpadding=\"0\" width=\"623\"\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 179px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eFragrance Category\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 207px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eRepresentative Ingredients\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 237px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eCharacteristics\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 179px;\"\u003e\n \u003cp\u003eFloral and Fruity Notes\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 207px;\"\u003e\n \u003cp\u003eRose, Jasmine, Lavender\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 237px;\"\u003e\n \u003cp\u003eSweet, Romantic, Relaxing\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 179px;\"\u003e\n \u003cp\u003eWoody Notes\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 207px;\"\u003e\n \u003cp\u003eSandalwood, Agarwood\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 237px;\"\u003e\n \u003cp\u003eDeep, Calming, Grounding\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 179px;\"\u003e\n \u003cp\u003eCitrus Notes\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 207px;\"\u003e\n \u003cp\u003eLemon, Orange\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 237px;\"\u003e\n \u003cp\u003eFresh, Vibrant, Uplifting\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 179px;\"\u003e\n \u003cp\u003eSpice Notes\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 207px;\"\u003e\n \u003cp\u003eStar Anise, Cinnamon\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 237px;\"\u003e\n \u003cp\u003eWarm, Stimulating, Comforting\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n \u003c/table\u003e\n\u003c/div\u003e\n\u003cp\u003eNote: Compiled by the authors based on olfactory exploration at the Y\u0026ugrave;lin spice market and the classification of traditional aromatic ingredients.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThese categories can be combined to create compound fragrance profiles tailored to various situations, using plentiful raw materials that are available in the Yulin spice market. As an example, rose could be used in combination with sandalwood to balance sweetness of soft florals whilst stabilising woody base. Alternatively, the citrus and the spice aromas could be combined and used as an invigorating daytime sachet. This categorization enables users to have the option to select and tailor formulas that align with seasonal changes, special occasions or emotional demands. These make each sachet as a unique manifestation of an individual emotion and identity.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eBehavioral Design: Usability and Functional Experience\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eMedicinal Value\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003eThe Y\u0026ugrave; sachet also embodies the behavioral level of emotional design through its medicinal properties. Traditional Chinese herbal sachets derive from Yiguan Therapy, an external treatment method in Traditional Chinese Medicine in which aromatic herbs are placed in wearable or portable containers. Active components are released gradually and absorbed via inhalation or skin contact, providing preventive and therapeutic benefits. On this basis, four functional sachet types were defined in this study: calming sachets, mosquito-repellent sachets, air-purifying sachets, and cold-prevention sachets (Table 8). Each type is associated with specific wearing or placement methods (e.g., placed near the pillow or anywhere in the room) and herbal formulas drawn from contemporary pharmacological and clinical research.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable 8. Therapeutic Effects of Fragrance Formulations\u003c/strong\u003e\u003c/p\u003e\n\u003cdiv align=\"\"\u003e\n \u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\" width=\"652\"\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 134px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eTherapeutic Effects\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 178px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eWearing/Placement Method\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eHerbal Formula\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 126px;\"\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cem\u003eReference\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 134px;\"\u003e\n \u003cp\u003eCalming Sachet\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 178px;\"\u003e\n \u003cp\u003ePlaced near the bedside or pillow\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003ePolygala, Acorus tatarinowii, Eupatorium, Albizia bark, Cinnamon\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 126px;\"\u003e\n \u003cp\u003eZhang et al. (2024); Kang et al. (2023)\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 134px;\"\u003e\n \u003cp\u003eMosquito-Repellent Sachet\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 178px;\"\u003e\n \u003cp\u003ePlaced anywhere in the room\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003eMugwort, Acorus tatarinowii, Perilla, Eupatorium, Angelica dahurica, Agastache, Mint Clove, Artemisia annua\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 126px;\"\u003e\n \u003cp\u003eLuo et al. (2022); Asadollahi et al. (2019)\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 134px;\"\u003e\n \u003cp\u003eAir-Purifying Sachet\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 178px;\"\u003e\n \u003cp\u003ePlaced anywhere in the room\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003eAgastache, Acorus tatarinowii, Mint, Astragalus, Atractylodes\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 126px;\"\u003e\n \u003cp\u003eShah et al. (2022)\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd style=\"width: 134px;\"\u003e\n \u003cp\u003eCold-Prevention Sachet\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 178px;\"\u003e\n \u003cp\u003ePlaced beside the pillow during sleep\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 214px;\"\u003e\n \u003cp\u003eAngelica dahurica, Agastache, Eupatorium, Cardamom, Clove, Dried Tangerine Peel\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd style=\"width: 126px;\"\u003e\n \u003cp\u003eZhang et al. (2020)\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n \u003c/table\u003e\n\u003c/div\u003e\n\u003cp\u003eNote: Developed and categorized by the authors based on Traditional Chinese Medicine (TCM) \u0026ldquo;Yiguan Therapy\u0026rdquo; principles and curated herbal formulas derived from cited pharmacological and clinical research.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eFor example, calming sachets typically combine herbs such as Polygala, Acorus tatarinowii, and cinnamon and are placed near the bedside to support relaxation and sleep quality. Mosquito-repellent sachets incorporate mugwort, mint, and other volatile herbs suitable for placement around the room. Air-purifying sachets use ingredients such as clove and Artemisia annua to freshen indoor air, while cold-prevention sachets integrate warming and qi-supporting herbs and are usually placed beside the pillow during sleep.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe significance of medicinal functions is further strengthened by the survey results. Approximately, 71.03% of the respondents stated that the medicinal efficacy is the main reason to buy sachets. In addition, over 60% of the respondents expected to experience the effect of mosquito-repelling or sleep-boosting from the sachets. These findings demonstrate that the therapeutic property realization is the critical factor in the user satisfaction. Thus, it should be a fundamental consideration in behavioral-level design.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cem\u003ePortability Design\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003eThe portability is a vital factor in determining the number of frequency and the circumstance under which the customers will engage with the sachet. In order to facilitate everyday use and align with modern lifestyle, two types of designs were developed. They include a necklace style and a bag-attachable style, as depicted in Figure 3.\u003c/p\u003e\n\u003cp\u003eThe necklace-style sachet utilizes the 20-30 cm adjustable silk cord with a soft texture. This allows the users to wear it comfortably around the neck. This design provides the advantages of lightness, elegance, and ease of wearing. Therefore, it can be applied in the everyday activities at home, outings, and even attendance of cultural events.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe bag-attachable style uses of a spring clip that has a swivel clasp. This is designed for quick and hands-free manners, handbags, or car interiors. Its key advantages are rapid switching capability and anti-loss feature. It can be integrated into the commuting, travelling and outdoor life activities. These fashions offer better choices of carrying the product in a more flexible, discreet and context-appropriate way than in traditional waist-hanging sachets. By combining medicinal properties and careful consideration of portability properties, the Y\u0026ugrave; fragrant Zhuang brocade sachet achieves a coherent behavioral design. It is simple to use, flexible to a variety of contexts and capable of providing a range of its therapeutic and emotional effects into the user daily life.\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eTechnological Interactivity in Modern Sachet Design\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003eIn accordance with the important technological interactivity, the Y\u0026ugrave; fragrant Zhuang brocade sachet combines digital interaction mechanism. This makes the user experience not only be limited to the physical product, as shown in Figure 4. \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eEach sachet has an individual QR code printed on the hang tag. This allows the users to scan the code using a mobile device. It will be redirected to an online interface that gives comprehensive and visually oriented information of the product. As such, it breaks the limit of traditional sachets which only able to communicate through their appearance and aroma. This increases the readiness of information and consumer confidence, therefore induces buying commitments.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe interactive interface is designed based on user-centered approach. It is divided into two major functional modules. The first module shows a visual spice growth log. This illustrates the origin of spices (like star anise and cinnamon), cultivation environments, and their major features. The presentations are in the form of photographs, text and graphical summaries. The second module offers batch-based quality details. They include inspection outcomes of pesticide residues and the content of active ingredients. The data are presented in the form of user-friendly charts and dashboards. Consequently, these modules provide product transparency and data-based viewpoint of the herbal ingredients and quality control methods of the sachet.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eIn addition to the product transparency, the system also functions as a platform of local storytelling and industrial communications. The digital content conveys the information about Yulin, the so-called Spice Capital of China, and its cultural and tourist resources. Therefore, with a single scan of a QR code, the users are connected to both the material characteristics of the sachet and the cultural view on the origin of the sachet. This integration of physical product, digital traceability and place based narrative is what turns the sachet from being a simple functional product to an interactive carrier of brand identity and representation of local cultural.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eReflective Design: Cultural Meaning and Personal Value\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eDiversified Service Offerings\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003eAt the reflective level, the Y\u0026ugrave; fragrant Zhuang brocade sachet is not just placed as a commodity, it is placed as a conveyor of cultural heritage, of individual memory. To strengthen this dimension, a Y\u0026ugrave; Fragrance customization workshop is proposed in two cultural prominent places (Yulin Shizi Street and the Yulin International Spice Market). These places make use of the fact that Yulin is famous for its importance as a center of traditional Chinese medicines and aromatic herbs. This makes the local agricultural resources experiential cultural assets.\u003c/p\u003e\n\u003cp\u003eThe service process is designed in three experience stages as summarized in Figure 5. During the Fragrance Exploration step, the users smell and compare herbs that serve as a base and read informational cards with brief information. This phase increases the sensory awareness and cultural education. Therefore, the visitors are able to be aware of the heterogeneity of herbal resources and their relation to the local identity. In the second phase DIY sachet Making the participants are welcome to choose which type of sachet they would like to make and complete the bag inside themselves with favorite herbs along with instructions. In this useful production, users have agency in customization and derive satisfaction from the personal production of the sachet. The final step, Emotional Engagement, involves making the users think about their creation and identify some memories or experience with the finished sachet and its scent. This process forms an emotional bond using olfactory memory. Thus, the sachet serves as a material reminder of the culture of Yulin and the participation of the user.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eBy turning the ordinary herbs into emotionally meaningful artifacts and linking local agriculture with tourism, the workshop model adds value of the product of being an ordinary souvenir to a means for cultural narrative, expression of identity, and individual memory.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eEnvironmental Sustainability\u003c/em\u003e\u003c/p\u003e\n\u003cp\u003eThe environmental sustainability of the Y\u0026ugrave; fragrant Zhuang brocade sachet is covered through two complementary pathways. First, the product has a built-in eco-design strategy directly. This way the outer pouch can be used repeatedly and the inner herbal packet replaced. Second, it contains biodegradable and environmentally friendly materials for both the herbal filling and the inner lining. This indirectly mitigates the burden on the environment in a way that is similar to other forms of sustainable handicrafts.\u003c/p\u003e\n\u003cp\u003eThe direct contribution is derived from the process of a reversible stitching and drawstring structure, which can ensure that a sachet can be easily opened, refilled and closed. Based on Figure 6, there are three simple steps involved in the handmade packaging procedure. First, one needs to fill a small inner packet with blended herbs, and then put the packet into the Zhuang brocade pouch, and tighten the drawstring to make it tight. When the fragrance decreases, the users do not throw away the whole sachet. They take out the now spent inner packet and replace it with a new one. This use-regenerate-reuse cycle is important for improving the traditional use-and-dispose pattern of sachets. This reduces far more single-use waste and prolongs the life span of the product. \u0026nbsp; This refillable structural design is one of the contributions of the present study in the field of environmentally oriented sachet design.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c/strong\u003eThe indirect way to the protection of the environment is achieved through a careful material choice. As indicated in Figure 7, the sachet uses an internal packet made from a breathable, biodegradable non-woven fabric, which is made from polyester and viscose fibers. This lining has enough durability to protect the herbs and also permit aroma diffusion. However, it decomposes naturally once it has been disposed. Hence, it minimizes the dependence of non-degradable plastics. The herbal ingredients themselves are obtained from green and sustainable farming in Yulin. The spices that do not meet quality requirements for sachet usage are used as natural insect repellants or soil conditioners. This further contributes to a local and low-waste cycle of resources. Even when sachets are finally discarded, the combination of the natural herbal fillings and biodegradable inner materials ensure minimum long-term impact to the soil and water ecosystems.\u003c/p\u003e"},{"header":"Conclusions and Policy Implications","content":"\u003cp\u003eThis study focused the Y\u0026ugrave; fragrance sachet featuring Zhuang brocade as a cultural product and economically viable commodity in the spice industry in Yulin. Based on the three-level theory of emotional design and KANO model, it translated the cultural identity and traditional fragrance of Yulin (鬱) and the aesthetic of textile and local story into a systematic design specification. At the visceral level, combining traditional Zhuang brocade motifs can increase the aesthetic appeal, reinforce the cultural identity, and support the product differentiation and high pricing. At the behavioral level, medicinal efficacy, fragrance persistence and portability are important to consumer satisfaction and repeat purchases. Furthermore, the ergonomic shapes, the flexible wearing possibilities and the digital traceability improve the usability and reach the market. At the reflective level, it is important to have customization workshops in the high footfall areas (such as Yulin Shizi Street and the Yulin International Spice Market). They associate the design of the sachet with tourism and cultural education. Furthermore, agricultural spices are converted into travelable cultural items. Environmental sustainability is built into a refillable drawstring structure that promotes a use-regenerate-reuse cycle. In addition, it does the use of biodegradable inner packets, the source of green materials, and the use of substandard spices.\u003c/p\u003e\n\u003cp\u003eFrom a policy point of view, some implications arise. First, cultural and tourism authorities are encouraged to jointly create and scale up design services that are experiential. The sachet-making should be placed as a critical component of the cultural tourism. Second, innovation funding should be given to small- and medium-sized enterprises in the adoption of smart packaging and traceability technologies. These increase transparency and branding of the product. Third, the green-certified spice farming should be encouraged, especially through public-private partnerships. This assures and provides security of supply of good quality of raw materials. More generally, the use of principles of emotional design in rural industries can serve as a replicable model for strengthening local cultural identity and cultural revitalization. It also has the added benefit of expanding local employment and local revitalization, as well as promoting low-carbon and low-waste rural development.\u003c/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"header":"Declarations","content":"\u003ch2\u003eAuthor Contribution\u003c/h2\u003e\u003cp\u003eTC.T.: Conceptualization, methodology, supervision, project administration, writing\u0026mdash;original draft, and writing\u0026mdash;review and editing.T.Y.: Methodology, formal analysis, validation, and writing\u0026mdash;review and editing.U.U.: Theoretical analysis, literature review, writing\u0026mdash;review and editing, and international perspective and academic revision.W.L.: Design development, visualization, cultural product design translation, and writing\u0026mdash;review and editing.Y.W.: Investigation, data curation, questionnaire administration, resources, and writing\u0026mdash;review and editing.All authors have read and agreed to the published version of the manuscript\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEthical Approval Statement\u003c/strong\u003e\u003cstrong\u003e:\u003c/strong\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eThis study was reviewed and approved by the Ethics Committee of Yulin Normal University (Approval No: [您的审批编号]; approval date: 2025-05-01). All procedures were conducted in accordance with relevant guidelines and regulations for research involving human participants.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eData Availability:\u003c/strong\u003e\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eThe data supporting the findings of this study have been provided to the journal as supplementary materials for peer review. These materials include the raw questionnaire data exported from the Wenjuanxing online survey platform, the system-generated questionnaire report, and supporting reliability, validity, and KANO analysis documents. Further information may be made available from the corresponding author upon reasonable request, subject to ethical and privacy considerations.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eInformed Consent Statement\u003c/strong\u003e\u003cstrong\u003e：\u003c/strong\u003e\u003c/p\u003e\n\u003cp\u003eInformed consent was obtained from all participants prior to participation. As this was an online survey, participants indicated their consent by agreeing to proceed after reading the study introduction on the first page. Consent was obtained between 30 May 2025 and 30 December 2025.\u003c/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\n\u003cli\u003eAsadollahi, A., Khoobdel, M., Zahraei-Ramazani, A., Azarmi, S., \u0026amp; Mosawi, S. H. (2019). Effectiveness of plant-based repellents against different Anopheles species: A systematic review. \u003cem\u003eMalaria Journal\u003c/em\u003e, 18, 436. https://doi.org/10.1186/s12936-019-3064-8\u003c/li\u003e\n\u003cli\u003eCerquetti, M., Ferrara, C., Romagnoli, A., \u0026amp; Vagnarelli, G. (2022). 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Asia-Pacific \u003cem\u003eJournal of Convergent Research Interchange\u003c/em\u003e, 10(7), 145\u0026ndash;158. https://doi.org/10.47116/apjcri.2024.07.11\u003c/li\u003e\n\u003cli\u003eZou, Y., Zhao, C., Childs, P., Luh, D., \u0026amp; Tang, X. (2025). User experience design for online sports shoe retail platforms: An empirical analysis based on consumer needs. \u003cem\u003eBehavioral Sciences\u003c/em\u003e, 15(3), Article 311. https://doi.org/10.3390/bs15030311\u003c/li\u003e\n\u003c/ol\u003e"},{"header":"Table","content":"\u003cp\u003eTable 6 is available in the Supplementary Files section.\u003c/p\u003e\n"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":false,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"humanities-and-social-sciences-communications","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"palcomms","sideBox":"Learn more about [Humanities \u0026 Social Sciences Communications](http://www.nature.com/palcomms/)","snPcode":"41599","submissionUrl":"https://submission.springernature.com/new-submission/41599/3","title":"Humanities and Social Sciences Communications","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"stoa","reportingPortfolio":"Nature AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":false},"keywords":"Emotional Design, Cultural Revitalization, Environmental Sustainability, Zhuang Minority Brocade, Fragrant Sachet","lastPublishedDoi":"10.21203/rs.3.rs-8986423/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-8986423/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThe traditional cultural products tend to be undervalued in the modern markets due to the lack of emotional resonance and innovative expression. This work proposes an emotional design strategy of ethnic cultural products, based on Y\u0026ugrave; fragrant sachet featuring Zhuang minority brocade of Yulin, China. The sachet draws on the historical figure of \u003cb\u003e鬱\u003c/b\u003e (Y\u0026ugrave;) which confines the historical connections of the city with aromatic substances and Zhuang national culture. It acts as a carrier of both local identity and fragrance culture. In terms of methodology, the study develops an extended the three-level theory of emotional design to build a user-centred requirement framework. Emotional needs are expressed at visceral, behavioral and reflective levels that result in twelve fined-grained requirements, which are specific to brocade-based fragrant sachets. Then the KANO model is used in order to categorise these requirements and rank the design features correspondingly in order to match product features with differentiated user expectations and emotional responses. Based on this, an integrated emotional design strategy is developed to the Y\u0026ugrave; fragrant sachet which encompasses Zhuang brocade symbolism, narrative and interactive use design. Simultaneously, the eco-design values, biodegradable inner parts, green sourcing of herbs, and refillable structure are integrated within the same model. This shows how emotional and environmental goals can be mutually operationalized. The research therefore presents a product level and concrete approach to emotional design of ethnic cultural products and how local heritage can be converted into marketable, environmentally friendly products that can sustain cultural continuity and rural revitalization.\u003c/p\u003e","manuscriptTitle":"Emotional Design for Ethnic Cultural Products: Development of the Yù Fragrant Sachet Featuring Zhuang Minority Brocade","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2026-04-01 14:11:41","doi":"10.21203/rs.3.rs-8986423/v1","editorialEvents":[{"type":"communityComments","content":0},{"type":"decision","content":"Revision requested","date":"2026-04-23T07:56:33+00:00","index":"","fulltext":""},{"type":"editorInvitedReview","content":"","date":"2026-04-17T16:53:25+00:00","index":"hide","fulltext":""},{"type":"editorInvitedReview","content":"","date":"2026-04-05T17:05:56+00:00","index":"hide","fulltext":""},{"type":"reviewerAgreed","content":"285133053398562575177183693351016628209","date":"2026-03-29T10:32:32+00:00","index":"hide","fulltext":""},{"type":"reviewerAgreed","content":"318270030218124603514996579977351433393","date":"2026-03-28T11:11:30+00:00","index":"hide","fulltext":""},{"type":"reviewerAgreed","content":"10304155004108105590447390805086671531","date":"2026-03-27T10:39:58+00:00","index":"hide","fulltext":""},{"type":"reviewersInvited","content":"","date":"2026-03-27T10:30:34+00:00","index":"","fulltext":""},{"type":"editorAssigned","content":"","date":"2026-03-27T10:27:48+00:00","index":"","fulltext":""},{"type":"editorInvited","content":"","date":"2026-03-24T06:30:12+00:00","index":"","fulltext":""},{"type":"checksComplete","content":"","date":"2026-03-20T10:17:02+00:00","index":"","fulltext":""},{"type":"submitted","content":"Humanities and Social Sciences Communications","date":"2026-03-20T09:49:03+00:00","index":"","fulltext":""}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"humanities-and-social-sciences-communications","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":false,"externalIdentity":"palcomms","sideBox":"Learn more about [Humanities \u0026 Social Sciences Communications](http://www.nature.com/palcomms/)","snPcode":"41599","submissionUrl":"https://submission.springernature.com/new-submission/41599/3","title":"Humanities and Social Sciences Communications","twitterHandle":"","acdcEnabled":true,"dfaEnabled":true,"editorialSystem":"stoa","reportingPortfolio":"Nature AJ","inReviewEnabled":true,"inReviewRevisionsEnabled":false}}],"origin":"","ownerIdentity":"cf8866af-a597-4dd8-9bf5-39e0f08b87b9","owner":[],"postedDate":"April 1st, 2026","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"in-revision","subjectAreas":[{"id":65333912,"name":"Humanities/Cultural and media studies"},{"id":65333913,"name":"Social science/Cultural and media studies"},{"id":65333914,"name":"Social science/Environmental studies"},{"id":65333915,"name":"Social science/Science technology and society"},{"id":65333916,"name":"Social science/Sociology"}],"tags":[],"updatedAt":"2026-04-23T08:09:23+00:00","versionOfRecord":[],"versionCreatedAt":"2026-04-01 14:11:41","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-8986423","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-8986423","identity":"rs-8986423","version":["v1"]},"buildId":"XKTyCvWXoU3ODBz1xrDgd","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}