文化的興潮之路必從史根，而耙梳歷史、探討文化，終須透過視覺的策略安排，也就是運用藝術與設計行為之表現完成結論的實踐，方收有形無形之效於默化之中。臺灣文化的探討因著社會解嚴而政治益趨民主之故，整體社會進入思想突飛猛進的開放年代，歷至2017年適逢而立的三十年。時風俗易、十年一替；凡世有變、三代為機，以年代替換論，此刻臺灣正已堂堂邁入「後解嚴時代」。多元探索臺灣定位的浪潮風起雲湧，以致臺灣史近年來不斷興發更貼近史實的研究結果，重新認知與認識臺灣文化語境的氛圍更漸濃厚，執行於設計面向的表現亦也日興，展於國際間的成潮之姿亦有蒿矢濫觴之勢，若能使臺灣文化透過重新認知後繼以計劃性的設計表現，並效日風、韓流風靡世界的潮流型態，則由臺灣風格文化所形成的浪潮「臺潮」之興必有可期之待。
　　臺灣史若以漢觀立場的文字載述而論，早年因著開墾移民，文化上主要承源於華夏漢民族之風，後因異國殖民與早年社會觀需求之移民，再加上近代原住民族意識復興、兩岸交流的移居與現代以東南亞為主的新住民，所累積的文化能量已產生出新的質變，且融合出臺灣社會具包容與尊重的多元文化現象。人類學家Roger M. Keesing提出，現代人類學必須別於傳統，不能僅研究正在消逝或已消逝的人類社會生活方式，而須研究正在發生的事情且務實探討以面對問題。此關鍵論點之於文化面向的探究亦值得借石攻錯、審新思維，而文化既是人類生活累積與演進的呈現，那麼同樣以務實面對的態度探討其真義則相形必須。故而本研究爰以現代人類學觀點為定錨學理，探討解嚴後臺灣設計之文化表現實踐景況，並透過研究者長年在臺灣婚禮文化與喜帖設計的實務經驗為載體、參照Guy Julier設計文化的模式法則進行探討與檢視及運用文本分析法、KJ法及深度訪談法原理所建構之「逛公圓」模式歸納分析，梳理臺灣喜帖設計遞嬗的文化觀得到臺灣民眾認知的當代價值有：臺灣主體意識確認存在、臺灣自有風格必要呈現、臺潮設計實踐鮮悍可行。然而臺灣文化當前仍面臨四個問題尚須務實以對：客觀史實認知薄弱、凝聚歸向誠須待閾、共識典範急須轉移、設計實踐棲位猶虛。故此，本研究經探討後提出，在「文化務實」的觀念下，現今從事文化設計工作者可行思辨之三項參考：積極文化務實以奠植豐厚臺灣設計實踐之涵養、在地學研究與設計學事務輔成建立之充分鏈接、後解嚴時代臺灣文化設計勇於展望詮釋之信心，希冀從而能使臺灣文化之務實設計實踐，興出遠瞻可見的「臺潮」經濟於未來。文化體現於生活而設計見諸於產業，展望解嚴三十年後的「後解嚴時代」，落實臺灣文化表現之設計實踐的四大面向基礎，歷史誠實以對、文化認真生活、教育省思知識、設計承擔責任，將得使「設計」興旺「社稷」，並成就臺灣文化為國家品牌位階以復旺經濟量能，從而冀使設計得可興國、救國之望，不以為奢。

A metaphysical scholar, Andy Clark, suggests that a language is a system that its practical niche falls in humen; in other words, a language gains its foothold because humen use it, which also means a language has its niche. After martial law era was ended in 1987, Taiwanese society entered a blooming era of diverse thinkings. Back then, design theories and visual communications flourished and prospered. Gradually, after thirty years, the late post-martial law era arrived. Prior to this time, the development of the once thriving Taiwanese culture design stopped at a point but then proceeded and later prospered again. Was this because the niche of practical culture design not clear and clarified? Since literature developed the awareness of the late post-martial law era, it has been a trend for art practice to echo the prosperous late post-martial law perspectives in recent years. Literature leads the way for art and then for design. However, the advancement in design field still stalls. The demonstration of Taiwanese culture has gained its foothold in literature and art, yet the practice of Taiwanese culture seems to need to advance more in design. To help understand the cultural practice of the late post-martial law era design, through the analysis of literature and documents, this research sorts out and sums up doubts and concludes that design is a system which is needed by culture and history. Therefore, the niche of design lies in culture and history, and the practical niche of Taiwanese culture design lies in the objective interpretations of history. The linguistic environment in the late martial-law society grows prosperous but still has a vague tendency in cultural aspect; also, its core spirit stays in a status of disperse paradox. This causes culture design''s development to hit a bottleneck and make the practice of Taiwanese culture design remain in a state of self-isolation. However, the multicultural Taiwanese society needs to spiritually unite so that its culture design will have a practical implementation to help itself enter the international community and gain its niche in the world. This research suggests that as the contemporary Taiwanese are anticipating prospective thinkings to create a vista of blue ocean strategy, they, especially, should make the practice of Taiwanese culture design have a distinctive, tough aggressiveness so that the existing core spirit of Taiwan can be carried forward to create economic output values in the late post-martial law era and thereby help steady the niche of Taiwanese culture design. Therefore, this research concludes three proposals: (1) Implement Taiwanese island history to be the foundation of culture design; (2) Construct the Taiwanese life values of design aesthetics; (3) Be duty-bound to the establishment of “Branding Taiwan.”