As museums continue to play an increasingly significant role in the preservation, innovation, and dissemination of cultural heritages, the products sold in their souvenir shops have become a vital carrier of cultural and creative industries. The creativity of these products has drawn intensive attention from various industries. However, the evaluation of museum products’ creativity still lacks objectivity, scientific rigour, and systematisation. This study aims to construct a contextual and comprehensive measurement model to evaluate the creativity of products purchased in souvenir shops affiliated with urban historical museums in China. Based on the literature, ten related hypotheses were introduced, and a conceptual model was illustrated. Six relevant dimensions and 28 corresponding indicators were identified, and then a 7-point Likert-styled questionnaire was developed. An online survey was conducted, which invited 931 participants to take part. Among them, 708 responses are valid (rate 76.05%). The overall reliability of the survey is 0.96 (Cronbach’s α). Then, exploratory factor analysis, confirmatory factor analysis and a structural equation modelling analysis using SPSS and SmartPLS were conducted. The results supported most hypotheses proposed by this study and confirmed the validity of the museum product creativity measurement (MPCM). The validated instrument comprises five dimensions: Affect, Usefulness, Aesthetics, Cultural Values and Novelty, with a total of 21 indicators. Additionally, the findings revealed that Aesthetics mediates Affect, and Cultural Values mediate Usefulness. Moreover, a negative moderating effect of Educational Level on the perception of Cultural Values was detected.

With the development of computer science, “user-centered” design assisted by intelligent technology is a new trend in China’s cultural and creative design. To clarify the research progress, the author reviewed the representative predecessor’s works in China, summarized a design process paradigm from their works, and classified the various design methods into a reasonable framework by manual content analysis. However, some problems still exist. The first is lack of intelligent design method promotion, and the other is the researchers are unaware that cultural and creative design has developed to a state with blurred boundary, in which the design not only means the design of cultural and creative products but also includes the design of exhibitions and education activities.