Jaewoo Joo is a Professor of Marketing at Kookmin University. He also teaches in the Experience Design program at the Graduate School of Techno Design.
Jaewoo holds a PhD in Marketing from the University of Toronto and earned his MBA and BA from Seoul National University. During his doctoral studies in Canada, he developed an interest in design thinking and behavioral economics to overcome the limitations of conventional practices in design and marketing.
Jaewoo currently collaborates with industrial leaders, marketing agencies, and startup founders. Through field experiments, he designs experiences that are both intuitive and strategic. He enjoys sharpening practical insights and contributing to academic research.
At the Seattle-Tacoma International Airport, I stopped by a souvenir shop featuring local designers. One product package caught my eye: a candle sealed inside a sardine can. It was one of the most unexpected and playful mismatches between form and function I have seen.
Designs like this stand out. But are they effective? Research suggests that consumer responses to such mismatches depend on the type of product. For functional products, incongruent designs can enhance preference. For experiential products, however, congruent designs are better. In other words, mismatch works best when the product is seen as utilitarian.
Yet this sardine-can candle, clearly a hedonic product, seems to challenge the logic. Despite its experiential nature, the mismatch in form adds charm.
The real question is whether the surprise created by the product package fade after the first glance or continues through the purchase experience. This souvenir suggests it endures. I bought two candles partly to appreciate the creativity the designers put into it. The unexpected packaging not only captures attention but also transforms the ordinary into something curiously extraordinary.
Marketers struggle with how best to position innovative products that are incongruent with consumer expectations. Compounding the issue, many incongruent products are the result of innovative changes in product form intended to increase hedonic appeal. Crossing various product categories with various positioning tactics in a single meta-analytic framework, the authors find that positioning plays an important role in how consumers evaluate incongruent form. The results demonstrate that when a product is positioned on functional dimensions, consumers show more preferential evaluations for moderately incongruent form than for congruent form. However, when a product is positioned on experiential dimensions, consumers show more preferential evaluations for congruent form than for moderately incongruent form. Importantly, an increase in perceived hedonic benefits mediates the former, whereas a decrease in perceived utilitarian benefits mediates the latter. The mediation effects are consistent with the view that consumers must first understand a product’s functionality before engaging in hedonic consumption.
At Heavenly ski resort and Kirkwood ski resort, a full set of colorful condiments stood quietly near the dining area. They include ketchup, mustard, mayonnaise, ranch, barbecue sauce, and even Bull’s Eye sauce. All were arranged in a neat row of colorful pumps, like Lego.
I noticed that every container, no matter the flavor, was marked with the same brand, Heinz. I always thought Heinz was only about ketchup, its hero product. But here, it offered more than that.
Usually, consumers determine the success of brand extension. But in this case, the producer takes the lead. By offering a well-designed and complete set, Heinz makes it easy for lodge managers to decide. Once the managers accept the set, skiers follow. They cannot select a different kind of mustard like Dijon, or switch to another brand. Brand extension may not be shaped only by end users like us, but rather co-created by those in the middle who make the decisions behind the scenes.
The same rule applies to the student cafe in Stanford. There is a set of container of mayonnaise, ketchup, and mustard with Heinz and then there are a few Tabasco pumps.
Two studies were conducted to obtain insights on how consumers form attitudes toward brand extensions, (i.e., use of an established brand name to enter a new product category). In one study, reactions to 20 brand extension concepts involving six well-known brand names were examined. Attitude toward the extension was higher when (1) there was both a perception of “fit” between the two product classes along one of three dimensions and a perception of high quality for the original brand or (2) the extension was not regarded as too easy to make. A second study examined the effectiveness of different positioning strategies for extensions. The experimental findings show that potentially negative associations can be neutralized more effectively by elaborating on the attributes of the brand extension than by reminding consumers of the positive associations with the original brand.
One woman became known for drawing colorful lines. She gave her time and money to paint a big wall in San Francisco.
This 90-minute documentary made me stop and question. Why do these artists offer their talent so freely, expecting nothing in return? Am I overlooking something more meaningful that I should be pursuing?
I often move between two minds, and lately this swing feels even more intense. When I attend AI seminars, efficiency becomes my top priority. When I speak with museum curators, I feel drawn to beauty or simply to helping others. Art and AI seem to sit at opposite ends of the spectrum.
Nostalgia has a strong presence in the marketing of goods and services. The current research asked whether its effectiveness is driven by its weakening of the desire for money. Six experiments demonstrated that feeling nostalgic decreased people’s desire for money. Using multiple operationalizations of desire for money, nostalgia (vs. neutral) condition participants were willing to pay more for products (experiment 1), parted with more money but not more time (experiment 2), valued money less (experiments 3 and 4), were willing to put less effort into obtaining money (experiment 5), and drew smaller coins (experiment 6). Process evidence indicated that nostalgia’s weakening of the desire for money was due to its capacity to foster social connectedness (experiments 5 and 6). Implications for price sen- sitivity, willingness to pay, consumer spending, and donation behavior are dis- cussed. Nostalgia may be so commonly used in marketing because it encourages consumers to part with their money.
I had the honor of judging four runner-up teams in Track 2 at the Sunstone Innovation Challenge at CSU Long Beach. Together with three other judges, we reviewed business plans and live pitches.
The four teams presented ideas and shared insights on product-market fit (PMF), market size (TAM, SAM, SOM), and go-to-market strategies across channels. They also laid out pre-launch timelines and key metrics to measure success.
Our judging rubric covered from market opportunity and business model to market validation and team structure. Each judge brought a unique perspective, focusing on aspects such as the scalability and/or financial strength of the business model.
I observed that understanding materials and experience with prototyping were critical when teams developed product concepts, and a deep understanding of customer needs was essential when generating service concepts.
Ultimately, the team, “Rise and UnWind,” was finalized with its clever idea of a coffee shop by day and speakeasy by night, supported by the team’s experience in the F&B industry.
On a sunny Saturday, I watched a classic movie titled To Be or Not to Be at the Stanford Theatre, a historic theater in Palo Alto. This movie experience felt like quiet therapy. I want to keep returning to this theatre for several reasons.
First, the analog ticketing gave me human connection. I received a red paper ticket at the tall glass booth, and another person inside cut it in half and handed it back. This mechanical process made me feel warmly connected.
Second, it was affordable in an expensive area. The ticket was $7, which is cheaper than a typical restaurant tip, and a small popcorn was only $1.50. In a place like Palo Alto where everything feels expensive, this low price made me feel comfortable.
Third, and most important, was the atmosphere. Most of the audience were senior couples, quietly watching the movie. Nobody used smartphones and nobody spoke loudly. I did not interact with them, but I felt comfort simply being near them. This calm environment helped me slow down my thoughts that dynamic AI talks never could. Although we often study seniors, we know little about how we feel when quietly sharing space with seniors. Perhaps, we enjoy being near them, watching them chat softly and walk slowly.
Independent theaters like the Stanford Theatre may represent the future of cinema. Multiplexes continue to be positioned as destinations for young couples, but moviegoers are turning away from them. Instead of focusing on couples looking for extraordinary experience, theaters should become places for individuals seeking quiet and reflection.
Previous research has shown that trait concepts and stereotypes become active automatically in the presence of relevant behavior or stereotyped-group features. Through the use of the same priming procedures as in previous impression formation research, Experiment 1 showed that participants whose concept of rudeness was primed interrupted the experimenter more quickly and frequently than did participants primed with polite-related stimuli. In Experiment 2, participants for whom an elderly stereotype was primed walked more slowly down the hallway when leaving the experiment than did control participants, consistent with the content of that stereotype. In Experiment 3, participants for whom the African American stereotype was primed subliminally reacted with more hostility to a vexatious request of the experimenter. Implications of this automatic behavior priming effect for self-fulfilling prophecies are discussed, as is whether social behavior is necessarily mediated by conscious choice processes.
“…We constructed two versions of the scrambled sentence task: one elderly prime version, which contained words related to the elderly stereotype, and another, neutral version. For the elderly prime version, the critical stimuli were worried, Florida, old, lonely, grey, selfishly, careful, sentimental, wise, stubborn, courteous, bingo, withdraw, forgetful, retired, wrinkle, rigid, traditional, bitter, obedient, conservative, knits, dependent, ancient, helpless, gullible, cautious, and alone… In the neutral version, the elderly prime words were replaced with the words unrelated to the elderly stereotype (e.g., thirsty, clean, private).”
“…Participants in the elderly priming condition (M = 8.28 s) had a slower walking speed compared to participants in the neutral priming condition (M= 7.30 s), t(2S) = 2.86,p< .01, as predicted…”
“…Thus, our results are in harmony with those of Carver et al. (1983), who advanced a “behavioral schema” model as an explanation for modeling effects. According to the behavioral schema model, the perceptual and actional representations of the same type of behavior share many features in common and thus develop strong connections. As a result, if one has just perceived another person acting in a generous or an aggressive way, for example, one’s behavioral schema for generosity or aggression is activated and accessible, and so one is more likely to behave that way oneself in subsequent situations for which generosity or aggression is a relevant response.“
During this opportunity, I shared my research on green consumption conducted with Bohee Jung (Jung & Joo, 2021). We borrowed the concept of choice–preference inconsistency from consumer behavior research to test whether consumers over-choose green options even when they do not evaluate them highly.
We found that while 76% chose the green option, only 49% actually rated it more favorably. A similar gap can be seen in real-world cases like the hype around Starbucks plastic reusable cups. Although companies are often accused of greenwashing, consumers themselves contribute by over-choosing green products they do not fully use.
In the past, researchers focusing on environmentally friendly consumption have devoted attention to the intention–action gap, suggesting that consumers have positive attitudes toward an environmentally friendly product even though they are not willing to buy it. In the present study, we borrow insights from the behavioral decision making literature on preference reversal to introduce an opposite phenomenon—that is, consumers buying an environmentally friendly product even though they do not evaluate it highly. We further rely on the research on goals to hypothesize that choice–evaluation discrepancies disappear when consumers pursue an environmentally friendly goal. A two (Mode: Choice vs. Evaluation) by three (Goal: Control vs. Quality vs. Environmentally friendly) between-subjects experimental design was used to test the proposed hypotheses. Our findings obtained from 165 undergraduate students in Korea showed that, first, 76% of the participants chose an environmentally friendly cosmetic product whereas only 49% of the participants ranked it higher than a competing product, and, second, when participants read the sentence “You are now buying one of the two compact foundations in order to minimize the waste of buying new foundations,” the discrepancy disappeared (64% vs. 55%). Our experimental findings advance academic discussions of green consumption and the choice–evaluation discrepancy and have practical implications for eco-friendly marketing.
At first glance, this is just an ordinary drinking water tap. But Stanford University has made it something meaningful.
A sign above the tap reads:
This drinking water originates from the Tuolumne River watershed in Yosemite National Park and is conveyed to the Bay Area by a regional water system. The Tuolumne River watershed is the homeland of Indigenous peoples, especially speakers of Sierra Miwok and Northern Paiute and their descendants. These people have cared for and revered this land since time immemorial. We invite you to seek deeper knowledge about the water you draw from this tap.
A simple water tap, something people might otherwise overlook, becomes a reminder of history and respect. Story can enrich everyday experiences, making the ordinary feel significant.
Stories fascinate people and are often more easily remembered than facts. Much has been written about the power of stories in branding, but very little empirical evidence exists of their effects on consumer responses. In the present study, we investigate how a firm-originated story influences consumers’ brand experience, by comparing the brand experiences of two groups of consumers. One group was exposed to the story and one group was not. An existing brand was used in the study, which had not been launched in the focal country. In-depth interviews were conducted with individuals in the two experimental conditions. The comparison revealed remarkable differences between the two groups. Consumers who were exposed to the story described the brand in much more positive terms and were willing to pay more for the product. The study contributes to brand management research and practice by demonstrating the power of storytelling on consumer experiences. The results are also important from a managerial point of view. They demonstrate how brand stories can be used to create and reinforce positive brand associations. A review of past research in combination with the findings demonstrates that more research is needed on the effect of stories on consumer brand responses.
My presentation focused on an ongoing collaborative research project with Nayoung Yoon at Aalto University and Wonseok Choi at Project Rent. Nayoung contributes perspectives of brand managers and consumers and Wonseok provides practical knowledge gained from launching over 200 pop-up stores throughout Seoul.
The lecture began with three landmark cases including Simmons Grocery Store. Following this, I presented four recent pop-up stores operated by Project Rent, each carefully designed around unique goals. Among them was the Ghana Chocolate House, an innovative pop-up store reshaping brand perception.
The audience paid attention to not only cases but also numbers. To illustrate this, I shared preliminary findings from data we collected during July 2020, at the height of the COVID-19 pandemic in Seoul. The graph shows daily visitor counts for two pop-up stores, a ham and beer pop-up (solid line) and a fashion pop-up (dotted line), alongside daily COVID-19 case numbers (green line). During pandemic restrictions, the food and beverage pop-up consistently attracted more visitors than the fashion pop-up when operating. These findings, highlighting the appeal of experiential consumption, were presented by Nayoung in 2024.
By taking empirics-first research approach, we study the effect of product type and COVID-19 restrictions on pop-up store visits. This quasi-experimental study uses store traffic and store-entry ratios of four pop-up stores displaying different product types (i.e., experience goods or search goods) at varying times (before or after the COVID-19 restrictions). Our research shows that pop-up store visits were higher when a store displayed experience goods than search goods before the COVID-19 restrictions. However, the store visits to experience goods pop-up stores plummeted after the imposition of restrictions, higher than search goods, suggesting the restrictions’ stronger detrimental effect on experience goods. Our findings advance research on consumer behavior relating to pop-up store products and the impact of mobility restrictions on store visits.
At the recent O’Malley School of Business (OMSB) Seminar at Manhattan University, I shared our research on minimalist design. This collaborative work with Yooncheol Shin, then a graduate student at the Techno Design Graduate School at Kookmin University and now a UX researcher at the Customer Experience Center at Woori Bank, explores when simplicity enhances consumer preference, and when it backfires.
We conducted one lab experiment and one field experiment to test a key idea: not all design elements contribute equally to how consumers form their preferences.
We found that removing LESS diagnostic design elements (e.g., buttons for play, forward, or backward songs) from an MP3 player increased participants’ preference. However, removing HIGHLY diagnostic design elements (e.g., buttons for equalizer, foreign song translation, or T-base) did not produce the same effect.
Our findings challenge the widely accepted “less is more” mantra. By connecting design practice and marketing theory, we offer practical insights for UX designers and brand managers who want to simplify without losing impact.
Advertising needs to capture consumers’ attention in likable ways, and the visual complexity of advertising plays a central role in this regard. Yet ideas about visual complexity effects conflict, and objective measures of complexity are rare. The authors distinguish two types of visual complexity, differentiate them from the difficulty of comprehending advertising, and propose objective measures for each. Advertisements are visually complex when they contain dense perceptual features (“feature complexity”) and/or when they have an elaborate creative design (“design complexity”). An analysis of 249 advertisements that were tested with eye-tracking shows that, as the authors hypothesize, feature complexity hurts attention to the brand and attitude toward the ad, whereas design complexity helps attention to both the pictorial and the advertisement as a whole, its comprehensibility, and attitude toward the ad. This is important because design complexity is under direct control of the advertiser. The proposed measures can be readily adopted to assess the visual complexity of advertising, and the findings can be used to improve the stopping power of advertisements.
In our newly published paper in Visual Communication, Renato Bertao, MyeongHeum Yeoun, and I explored how well AI powered logo makers actually perform. We tested several popular tools and asked design experts to evaluate the results. Many of the logos they produced lacked essential design principles such as proportion, balance, and unity. AI can generate logos quickly, but when it comes to well crafted design, it still falls short.
Artificial intelligence is already embedded in several digital tools used across design disciplines. Although it offers advantages in automating and facilitating design tasks, this technology has constraints to empowering practitioners. AI systems steadily incorporate machine learning to deliver meaningful designs but fail in critical dimensions such as creativity. Moreover, the intensive use of AI features to provide a design solution – so-called AI design – challenges the boundaries of the design field and designers’ roles. AI-powered logo makers exemplify a horizon where non-designers can access design tools to create a personal or business visual identity. However, in the current context, these online businesses are limited to randomize layout solutions lacking the visual properties a logo requires. This article reports mixed-method research focusing on AI-powered logo makers’ processes and outcomes. We investigated their capability to deliver consistent logo designs and to what extent their algorithms address logo design principles. Initially, our study identified representative visual principles in logo design-related literature. After probing AI-powered logo makers’ features that enable logo creation, we conducted an exploratory experiment to obtain solutions. Finally, we invited logo design experts to evaluate whether three visual principles (proportion, balance and unity) were incorporated into the layouts. The assessment’s results suggest that these AI design tools must calibrate the algorithms to provide solutions that meet expected logo design standards. Even focusing on a particular AI tool and a few visual principles, our research contributes to initial directions for developing algorithms that embody the complex aspects of visual design syntax.
Keywords
AI-powered logo maker, logo design, visual design principles, AI design, artificial intelligence
