What is Learned in ‘Experience Design’? Why is it Pursued by Curators, Managers, and Creative Professionals?
The Essential Experience Design Skills for Modern Curators, Creative Professionals, and Managers
In recent years, the terms ‘Topic Curation’ and ‘Experience Design’ have gained popularity in the realms of exhibition planning, arts and culture, advertising agencies, and even the tech industry. So what responsibilities do these positions entail?
For long-term followers, you may know that I teach a ‘Topic Curation and Experience Design Interdisciplinary Special Class’ at the university every semester. This eight-week course deeply engages students in workshop-style professional training, aiming to equip them with the knowledge and professional capabilities to become competent topic curators and experience designers.
My students come from a wide array of backgrounds including senior managers from various industries, museum planners, sports brand employees, event company owners, associate professors/lecturers, and public relations firm managers, among others. So why is there such a keen interest in learning experience design?
In this article, I will delve into the allure and intricacies of the job of ‘Experience Design’, and share feedback and remarks from students about the course.
Let’s get started!”
The Role and Expertise of an Interdisciplinary Topic Curator
The role of a topic curator varies significantly in B2C and B2B settings, each with different meanings and responsibilities. Taking B2C topic curation as an example:
As you step into a physical store, you may notice some shops have unique decor, arrangements, products, and customer interaction styles. It could be the choice of colors, a distinctive scent in the air, or a display that entices you to step in.
A topic curator in a retail setting is responsible for creating physical displays that resonate with different seasonal periods, trending topics, or societal issues, blending them with the store’s products. This approach helps customers get acquainted with, or even fall in love with the brand, leaving a memorable impression.
The essence of what a topic curator does is to pique your curiosity, entice you to enter, and encourage you to stay longer. For instance, the Adidas store in the Eastern District is quite eye-catching with its signage, neon lights, and entrance arrangement differing significantly from other stores. Similarly, the LE LABO perfume counter, under Estée Lauder, at a department store, utilizes dim lighting and a distressed wall texture, creating a contrasting, memorable experience compared to the neighboring high-end Chanel or Dior counters.
A curator essentially serves as an image and space designer, narrating the brand’s story and evoking resonance among the audience. Interdisciplinary topic curators specifically focus on extending discussions and designs around certain current events, trends, or topics.
Reflecting on this, you might ask yourself if these are the activities you’d enjoy engaging in?
Harnessing the Magic: Nurturing the Skills for Becoming a Topic Curator
Being a topic curator is akin to being a magician, where the magic lies in the amalgam of psychology, marketing, experience design, and more. As the wizard behind the curtain, you have the power to shape what consumers see and how the brand communicates its message. However, the road to becoming a proficient curator necessitates a particular set of skills and knowledge. Before delving into the answers, let’s draw a parallel to another profession, shedding light on the increasingly similar roles of office workers and curatorial professionals.
A Glimpse into the Inspirational and Structural Framework for Managers and Creative Professionals
Having served as a ‘Marketing Manager’ in a multinational tech firm, overseeing B2B marketing operations across Taiwan, Hong Kong, Singapore, and Malaysia, I was fortunate to immerse myself in the diverse facets of marketing in a startup environment. My responsibilities spanned advertising, SEO, content marketing, social media marketing, event planning (B2B topic curation), product marketing, branding, animation production, and customer lifetime value nurturing, to name a few.
Every day, ‘Experience Design’ was an integral part of my marketing endeavors. Let me share the intricacies with you.
Traditionally, marketing departments would focus on metrics like reach and click-through rates as KPIs, striving for swift and direct conversion efficiencies. However, modern marketers are expected to anticipate the needs of downstream sales and customer service teams, understanding their frontline customer interactions, sales pitches, and promotional offerings.
Simultaneously, staying attuned to the product development progress and upcoming updates from the upstream product teams is crucial. This awareness helps in articulating the product’s value proposition in a manner that not only prompts customer orders within a ‘nurturing period’ but also steadily enhances their affinity towards your brand.
In orchestrating the brand image (Branding), customer nurturing (Nurturing), and payment conversion (Conversion), the marketer-turned-curator continually hypothesizes about the customer’s current needs and desires. The strategy lies in balancing a non-aggressive approach to prompt payment with a proactive engagement to prevent customer attrition. It’s about aligning the customer’s feelings and needs with the brand’s objectives in the marketing narrative.
Moreover, we advance by determining the tier levels 1–5 of customers based on their paying capacity, and create marketing content tailored to the needs of each tier. I will share more details on this in the next article.
When marketing professionals and managers plan, the evaluation criteria for content production are often based on customer sentiments. Customer experience is an indispensable factor, and perhaps the most crucial one.
At this point, have you noticed any striking similarities between the roles of topic curators, managers, or other positions?
I believe that curatorial professionals, event planners, marketers, arts and culture practitioners, and managers, seemingly distinct occupational circles, share a significant intersection: a customer-centric experience.
Through the above examples, I aim to convey that experience design is not an exclusive competency for curators, but a skill that every profession and title should practice mastering.
Now, let’s circle back and discuss the enigmatic magic that topic curators, marketers, event planners, and professionals from all walks of life can utilize — Experience Design.
What is the framework of experience design? What advantages and changes come with mastering the professional skills of experience design?
Customer experience naturally occurs and is not something I deliberately create. Interaction with your brand will trigger a gamut of emotional fluctuations and resultant actions in the customer. Experience design lays its foundation here, pondering on how to make the customer feel more related (Related), unforgettable (Unforgettable), liked (Like), and enjoyed (Enjoy). I utilize “RULE” as the framework for experience design indicators.
Achieving RULE indirectly leads to higher conversion rates, earning more money, having more interactions with customers, and enhancing external visibility and image.
Therefore, RULE is a precursor indicator to making money. In other words, if the boss wonders why today isn’t as profitable as before, why recent posts have fewer interactions, or why recent in-store customers haven’t bought as much as before, it could be because RULE wasn’t well-executed.
Now we know that the central objective of experience design is to elevate the customer’s RULE, but what’s the next step?
How to boost these metrics? And how to know if these indicators have indeed improved?
We can discuss this in four segments.
“Related” signifies evoking resonance within the audience, making them feel that the matter at hand aligns well with their preferences. You can establish criteria for achieving this indicator by considering what customers might say, the feedback they would provide, or the thoughts that might cross their minds in response.
For instance, customers might express, “This color is so me!”, “I’m totally hit!”, “So touching.”, “Wow, I got goosebumps.”, or “Makes so much sense, totally agree.” In your project, if you can evoke such reactions from customers, you’ve successfully met the mark. It could be the awe in their eyes as they enter the store and learn about your product stories, or the exclamatory phrases they share with you.
Or when your client receives your presentation, and they respond with, “Your product fits my needs perfectly.” You may have noticed that the key to eliciting such responses from customers is to “hit the nail on the head”, addressing real, solid needs, not superficial design elements.
Suppose you’re a salesperson at a bath lotion retail store. You might think: What does the customer who just walked in need? How should I “introduce the product” considering they might be in a bad mood having just run out of their bath lotion? Do customers visit our store for the fragrance, cleansing effectiveness, or our brand philosophy?
Experience design is a continuous refinement process. The ‘Related’ indicator aims to trigger resonance, so we need to identify the “high probability reasons that will hit their pain points.” Experience design is about probabilities, making “educated guesses suitable for the majority of customers,” or following the 80/20 rule: cater to the needs of 80% of customers.
Should I “say it this way” to touch the customer’s heart, or should I change to “say it that way”? Experience design is a process of experimentation. Test with the first customer, then move on to the next to see which approach resonates more with customers’ hearts, gradually shaping the “way of speaking” that suits your brand best.
‘Unforgettable’ is about creating memorable experiences for customers. Beyond amplifying sensory elements to deepen memory points, storytelling is even more crucial, as people tend to remember a good story for a long time.
The element of being ‘unforgettable’ is often overlooked because it doesn’t lead to immediate purchases, likes, follows, shares, or guarantee future affinity. Although it may seem useless, it’s actually pivotal. A customer who finds your brand unforgettable may not buy your product, but they will share it with their friends. Modern consumers often search online for reviews and ask people around them about their feelings towards a product before making a purchasing or business decision. Research indicates that the opinions of those around them have a far greater influence than other reviews. In other words, the more people find your brand unforgettable, the more likely you are to capture the market derived from word of mouth.
Word of mouth is the benefit created by being ‘unforgettable’. It gives customers enough memory and information to share with their friends. Don’t miss the point; the goal of being unforgettable is not to achieve immediate conversion, nor will it suddenly increase your likes or follower count, but it will increase the number of times you are shared.
So, how to create an unforgettable experience?
The first trick is to utilize sensory elements, namely hearing, vision, smell, taste, and touch. On digital platforms like mobiles and computers, 99% of the time, we create memory points through vision and hearing, but in exhibitions, I specifically engage the other four senses apart from vision.
The significance of sensory elements in enhancing ‘unforgettable value’ lies in the human memory curve. As stated, memory retention drops to 50% three days after obtaining information via a mobile device, and plummets below 25% after 30 days. This rapid memory loss prompts the need for heightened sensory stimulation to prolong memory retention. Examples like 3D movies, charismatic podcasters, durian-flavored beer, and the iconic Netflix sound at the beginning of its shows demonstrate how unusual or repetitive auditory, olfactory, and visual stimuli can engrave memories.
The emphasis on sensory experiences in marketing and topic curation is apparent. However, another potent method to elevate ‘unforgettable value’ is through storytelling. Well-constructed stories, regardless of their simplicity, lack of picturesque imagery, or brevity, can leave a lasting impression.
The concept of ‘story design’ is regarded as the pinnacle of experience in the book “Experience Design — Creative Thinking Technique” by Japanese game master Yuji Shoji. It’s seen as an indispensable gamification element following ‘intuitive design’ and ‘surprise design’.
A good story creates a ripple in the audience’s hearts, evoking thoughts like “I wish I could do that” or “What would I choose?”. This self-immersion into the narrative indicates a successful connection between the story and the audience.
I will elaborate in detail later on how to design a story-driven business plan to enhance our projects. Let’s continue discussing “Like.”
“Like” is about making customers like you, a genuine liking. It’s not due to irrelevant inducements associated with your brand or product, nor because of your rhetoric or inconsistent image, but a true, pure liking.
Many beginners fall into the trap of enthusiasm when they first start learning about experience design. What does the trap of enthusiasm entail? Being overly enthusiastic when speaking, in text, in exhibition narratives and displays, and in marketing terminology.
You might have had this experience: as you walk into a store, a staff member comes up shouting ‘Welcome!’ and then says ‘Feel free to look around.’ When you pick up a bottle of body wash, the staff immediately follows with ‘Many people like this one, it smells good, it has a peppermint base, …’ Not yet finished, as you move to the shelves on the next aisle, they stealthily follow to introduce more to you (thinking their actions are subtle and unnoticeable).
We often mistake enthusiasm for a good experience premise. This is a misconception. It’s not to say indifference is good, but a good experience temperature should consider the nature of the customer, your brand personality, and cultural habits.
To make the audience like you, it’s not necessary to focus on exuding enthusiasm, but emphasize on how to express the real you. That’s right, what customers want is not a flashy appearance, they want to know what you have actually done, whether your narrative and your actions truly align with your narrative.
Many YouTubers or Instagram influencers often experience a persona collapse two to three years later, and the customers and audiences who once liked them no longer do. A significant reason for this could be the exposure of inconsistency in their outward appearance.
How to present the real you? What does being real entail?
Indeed, everyone has different aspects, switching between different roles, wearing different masks and adhering to different behavioral guidelines. Each role we play is real, but I suggest: we should choose the one that is closest to who we are as an individual.
Imagine living on a deserted island for 3 years, where no one sees you, and no one knows what you have done. What would you look like, what would you say, what would you want to do? That version of you is the one that should be treated well and presented in front of customers. Over time, you won’t have the pressure of maintaining a different image in public, nor will you suddenly express ideas that you don’t believe in or are unwilling to act upon.
Similarly, it applies to brands. If you are a brand promoting environmental protection, do you truly believe in it, or is it just to follow the trend? If you truly believe and practice environmental protection, what actions have you taken to achieve your vision? What are you planning now, and is there any area where you need the help of your customers?
Expressing this real side of you will garner support and affection from some people. These people will stay with you, not swayed by changing trends, economic downturns, or any external factors.
When managing a brand, or brainstorming creative plans, or organizing exhibitions, we often want to exaggerate what we have done or speak highly of ourselves. This is normal. Being real doesn’t mean exposing all flaws, but being ‘an ordinary person’ is enough. When you feel that saying something seems ‘a bit pretentious’ or doing something feels ‘a bit forced,’ trust me, the smart and discerning audience will think so too. The only people you can fool are fanatics who don’t think much, which isn’t beneficial for you in the long run. Over time, this group of fanatics will not be substantial as everyone wakes up.
So why don’t these internet celebrities or brands with collapsed images present their real selves? Why is it so hard to present the real you? I will discuss this in class and elaborate on this ‘avoidance of the real self’ phenomenon in another article.
“Enjoy” is about letting customers enjoy. Enjoying the moment, the aftermath of purchasing a product, the day after visiting an exhibition, the mood after reading your text. The most powerful enjoyment is that which continues to provide pleasure.
Enjoyment is the most abstract concept; it’s hard to determine if customers are enjoying, feeling real pleasure without too much negativity, or simply being momentarily satisfied by sensory stimulation.
Enjoyment represents inner contentment; things that allow for enjoyment are often abstract elements like the feeling of being loved, understood, a sense of belonging, security, honor (exclusivity), achievement, and the abundance of creating something.
A bottle of beer can’t provide enjoyment, but paired with street artist music and a breeze, it can. A piece of text can’t provide enjoyment, but coupled with music and sincere handwriting, it can. People enjoying a shopping spree feel satisfied by observing sceneries only they can notice, hearing laughter that’s hard to come by in the city.
To create enjoyable scenarios for customers, we must completely put ourselves in their shoes, detaching our age, gender, personality, and needs, fitting into the customer’s profile to think about what at this moment would make your customer enjoy.
Most of the time, we can’t empathize with every type of customer’s inner voice. So we need to ask colleagues, friends how they would create the scenario, instead of pondering on it alone.
“Should we add music?”, “Should I make this text more heart-wrenching or keep it simple?”, “Should I play a branding video now?” — these are the questions to ponder while discussing scenarios, constantly contemplating the inner feelings of customers. The level of “enjoyment” must consider the authenticity of the guests, otherwise what you create may come off as fake or mediocre.
The shopping experience provided by Muji is enjoyable. So is IKEA, but the almost unchanged shopping route and rooms in IKEA can’t always keep it enjoyable, because on average, we spend much more time in IKEA than in Muji. So, IKEA has the obligation to do more to enhance the enjoyment of the design. I will write a special report on this later (hopefully IKEA will see it, let’s make it better together, I love shopping at IKEA).
When audiences feel enjoyment, they won’t instantly like you, nor will they buy immediately. They might not remember what happened today when they go home. But, 99% of them will like you, buy your products, and they will remember this ‘feeling,’ remember it for a very long time, although they can’t pinpoint why they feel this way or what created this feeling even after a long time.
This is the charm of the “enjoyment” level, as an experience designer, if you can create enjoyment, then you are a top-notch experience expert.
For those aspiring to become curators or creative professionals in the future, how can I delve into Experience Design now?
Earlier, we devoted a considerable discussion on the primary framework of Experience Design, RULE, which is premised on commercial objectives — earning money, converting customers, and reaping benefits.
Therefore, when learning Experience Design, you should first clarify your purpose. Who are you doing this for? What goals do you wish to achieve?
The most lacking aspect for curators and creative workers is not creativity; on the contrary, creativity often flows endlessly. What they lack is a “clear purpose and thinking framework.” Imagine, we often have the intention to do something, but we do not further converge creativity into a logic for execution steps. We can articulate arguments, but lack the obsession over how much money must be made. This is the most worrisome aspect for curators and creative workers, and also why learning Experience Design is crucial.
Therefore, I sincerely advise those wanting to learn Experience Design to roll up their sleeves in the commercial world, engage in some sales, business-oriented tasks, marketing planning, or even open an online store to become a small boss. You will discover the essence of “Experience — Customer-Centric” through these endeavors. At this juncture, learning Experience Design becomes a joyful and immediately applicable knowledge.
If you wish to learn the framework and mindset of Experience Design, besides attending my course, you could also watch a few Harvard business cases, or research on the market how brands operate a good “brand,” how they create “differentiation,” making customers feel unique and continually deepening the bond with fans.
These initial steps will be extremely helpful for learning Experience Design because you are genuinely stepping into the commercial realm to discover rules and resources, instead of merely seeking the thrill of knowledge and creativity under the guise of cultural creativity.
Hi, I am Mark,
I hope the content here can help those like me, who want to learn experience design, to avoid some detours, feel less helpless, and without having to spend a lot of money, find work inspirations and familiarize with societal trends.
If you enjoy this kind of knowledge and discussion, feel free to join me on my personal Instagram @mark.lin24, (you can also DM me~)
Mark LIN The Curators — Founder & Creative Director Email: Lhz7109@gmail.com
