GEISAI自2001年開始，以每年兩次的頻率於日本舉行，至今已逾十年，2009年起原裝移植台灣，於台北市中心華山1914文創園區盛大開辦。GEISAI中文翻譯為「藝祭」，命名取自美術大學學園祭，由日本當代藝術家村上隆所領導的Kaikai Kiki公司所主辦，為一個讓各式各樣的藝術家齊聚一堂一同展覽的藝術活動。它不僅是「挖掘夢想出道藝術家的場所」，同時也是個「像跳蚤市場一樣輕鬆展示買賣藝術作品的場所」和「跟已開創的美術界接軌的新起點」。 時至今日，GEISAI儼然已成為台灣藝術家每年的一個重要活動。GEISAI最吸引人的莫過於其「無先前審查制度」，以及「黃金評審團」，提供藝術家、藝術相關人士與一般藝術迷相遇的場所，不僅給予對藝術有熱情者展演舞台，也造就了許多藝術新秀。 本研究得出幾點結論如下： 1. GEISAI的核心價值主張十年來皆本著「如何建立東方新型態的藝術市場」的態度去執行，從未改變。台日GEISAI由於國家習慣、資金組成不同，而有相對應的舉行方式。 2. 活動若能長久經營，必須堅持一核心的價值主張。明確的價值主張除能使活動更為聚焦外，也能持續吸引未被滿足的潛在消費者加入。 3. 具強烈信任感、合作無間的執行團隊為活動長期經營的要件之一。 4. 對實質付出大於無形收穫的活動而言，理想的堅持是持續經營的原動力。 / Since 2001, GEISAI has been held bi-annually in Japan for over 10 years. It took place at Huashan1914 Creative Park in Taiwan since 2009. The name GEISAI is derived from the Japanese word for "art festival." Such festivals would typically take place within a university or art school. It held by Kaikaikiki Co., Ltd belongs to Takashi Murakami. GEISAI presents a new art-collecting concept, allowing artists to exhibit their own works directly. It is a place where new artists can make their mark, where art work can be easily traded, and where the new and old can connect. Nowadays, GEISAI became an important activity of artists every year. The most attractions of GEISAI are "Non-Entry-Requirement" and "All-Star panel of judges". GEISAI provides a place where many artists gather to exhibit their works. It also provides artists and fans a place to meet face-to-face. More importantly, GEISAI provides new artists show-off opportunities and creates many new stars of art. The conclusions of this research can be summarized as below: 1. The core value proposition of GEISAI is based on "how to establish new ear art market" for 10 years. GEISAI&GEISAI Taiwan held in different way due to their national habit and capital composition. 2. Activity has to insist on its core value for the sustainable development. Specific value can not only focus on the activity but also attract unsatisfied potential customers continually. 3. A team with strong faith and cooperation is one of the key factors of sustainable development. 4. As an activity which its tangible devotion is more over than intangible income, the insist of ideal is the motivation of sustainable development.

本研究提出「紐約當代藝術家經營模式」的研究架構，其後進行個案研究，觀察蔡國強與村上隆兩位國際級的當代藝術家的創作內涵與經營事蹟，使讀者與後續研究者能夠有系統地解讀其藝術事業的具體結構。 / This study first proposes the research framework of " Business Model of New York contemporary artists ", then does a case study on two world-class contemporary artists, Cai Guo Qiang and Takashi Murakami, and observe their creation and business in order that the readers and future researchers can interpret the concrete structure of their artistic business in a systematic manner.

在國際時尚舞台中，台灣在過去一直扮演代工的角色：儘管手中握有無與倫比的研發與生產技術，然而報酬率卻遠不及握有「國際品牌」的廠商。 1990年起，台灣以往勞力、技術密集的紡織產業開始走下坡。台灣紡織產業開始面臨勞工短缺、工資上漲，許多低價紡織品在國內生產已無獲利空間；從2000年左右開始，隨著全球化市場發展，中國大陸與東南亞等新興國家陸續崛起，我國紡織產業開始產生外移。2005年，WTO協定生效，取消「紡織貿易配額」，以及全球各地逐漸形成的「區域經濟體」，使得全球紡織產業發生結構性的變化。 近來「美學經濟」指標性產業：「時尚產業」，已經成為亞洲國家積極發展的目標，而政府也大力鼓吹由過去專業代工的「製造經濟」，轉型為以品牌、設計為主的「創意、知識經濟」。2008年國家重點發展計畫中提出「產業高值化」政策，除了研發，強化行銷能力以提升品牌知名度亦是創造高附加價值的重要關鍵。 台灣在本土時裝設計師品牌不少。然而，礙於台灣市場規模，始終無法有大幅的成長。因此，台灣設計師如何進軍國際市場，便成了一個值得深入探討的議題。 本研究結合Csikezentmihalyi創造力系統模式、與設計師日常事業經營，探討本土設計師時裝品牌國際化的動態過程：設計師如何以服裝設計專業、結合創業營運相關知識，不斷與國際時尚界專業人士與買家們溝通互動，進而使其品牌在國際間佔有一席之地。 本研究同時歸納設計師在進軍國際市場時需要哪些能力，以及在進入國際市場不同階段所應注意的管理議題，期望能供業界、後續學術研究參考、指教。 / This research is about how Taiwanese fashion designers market their products internationally. Taiwanese textile companies didn’t have their own brands before. They mainly manufactured and sold products overseas under foreign brand names. However, the textile manufacturing industry in Taiwan has already moved abroad to low-labor-cost area during the past two decades. Taiwanese designer brands have been struggleing between the small domestic market and the competition of foreign brands. I explored three cases of Taiwanese fashion designers who market their brands and products internationally. They are respectively Hong, Li Fen’s designer brand ‘Sophie Hong’, Chien, Yu Feng and Pan, Po Shun’s ‘Shawnyï’, and Chia, Wen Lan’s ‘Twinkle by Wenlan’. I analyzed these cases based on the Creativity Dynamic System Model (Csikezentmihalyi, 1990). First, I discovered how they combine their expertises of fashion design and business management to organize their international network. Second, the abilities a fashion designer has to possess during his way to international fashion market have already been clearly listed and categorized. In the end, I casted several managerial issues the fellow designers should pay attention to in different stages when they try to internationalize their brands and products.