The purpose of this study is to classify the types of decoration techniques used in women’s Chima and Jeogori in traditional Hanbok catalogs from 2010 to 2020, and to analyze the frequency of each type. The method of this study is as follows. This study first investigated the transition of modern Hanbok and decorative techniques by analyzing and classifying such work in previous studies. Based on this, the technique of decorating the Jeogori and Chima that appeared in the traditional Hanbok catalog of the study period was analyzed. The results of the study are as follows. In the case of Jeogori, in the first half of 2010, the decorative technique of a relatively large size was used, and the decorativeness tended to be strong. However, in the late 2010s, the number of decorative techniques used in Jeogori has decreased, and the size of the decorative technique has become smaller and more concise, leading to a tendency to understated decoration. In the case of Chima, techniques to express natural texture by processing threads or fabrics themselves were mainly used rather than techniques to add decoration to the surface, and techniques to express various surface texture tended to develop toward the late 2010s. The change in the decoration technique of Jeogori and Chima appears to be a combination of social, cultural, and economic factors such as a change in consumption culture and a reduction in the wedding market.

The purpose of this study is to expand satirical expressions that appear in a wide range of arts into fashion and to analyse and present satirical expressions that appear in contemporary fashion through the collections of Thom Browne. Theoretical examination of satirical concepts were made of domestic and foreign academic theses, dissertations, precious studies, and publications related to satire. Analysis was conducted on cases in which satirical expressions were applied in literature, painting, sculpture, and fashion. Based on these studies, analysis was conducted on satirical expressions appearing in Thom Browne’s work. Material was gathered from collection reviews, interview articles, professional books, and internet photo material from professional fashion magazines encompassing 16 years of Thom Browne’s collections officially recorded in the international fashion magazine ‘Vogue’, ranging from the 2006 S/S collection to the 2021 S/S collection. From this, a total of 1,753 photos were collected as data. Characteristics of satirical expression were analyzed and the results were as follows. A fluid reconstruction of ‘gender fluid’, dual meanings of metaphorical allegories, playful expressions of visual wit, constructions made of overlapped disassembled material, and borrowing of morphological distortion were all identified. Accordingly, satirical approaches as social aspects and objects in the flow of modern thought appear as positive forms based in humor that hope to be improved. This study anticipate the concept of satire will expand into a positive form as a new direction of fashion.

In this study, six mainland Chinese designer brands—Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen—were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

Strontium lanthanum vanadate La1-xSrxVO3 (LSVO) is a promising anode material for electrochemical devices, especially for solid oxide fuel cells, thanks to its irregular electrical conductivity. However, the known synthesis methods are incapable of producing well-dispersed LSVO nanoparticles (NPs) with homogeneous size distribution, which partly impedes the applicability of the material. Thus, a new approach to synthesize LSVO NPs with such characteristics is of paramount importance. In the present work, we successfully prepare LSVO NPs with a high dispersion degree and homogeneous size distribution via a modified co-precipitation pathway, followed by hydrogen reduction at a temperature as low as 700 oC. The prepared LSVO NPs display uniform sizes in the range of 50 ~ 100 nm and do not contain any secondary phases, according to XRD analysis. The chemical mechanism of reactions that occur to form the LSVO is thoroughly highlighted. The work functions of NPs measured by the UPS analysis are in the 2.13 ~ 3.62 eV range, making the LSVO powders promising for use in thermionic devices. An explanation of the role of Sr substitution in work function values of LSVO is also proposed.

A Y6-xCa1.5xSi11N20O:Ce3+(x=2.5) oxynitride phosphor is synthesized at 1,750 oC in a mixed gas atmosphere of 5% H2 and 95 % N2 by using YN, Ca3N2, Si3N4, and CeO2 as raw material reagents. The crystal structure is a trigonal crystal system that has a P31c (no.159) space group and has lattice parameters of a, b = 9.8876(3), and c = 10.6806(4). This structure is an Er6Si11N20O structure type in which a Y6-xCa1.5xSi11N20O structure is formed by substituting a trivalent Y3+ element and a bivalent Ca2+ element at the position of Er element having an oxidation number of +3. Here, the charge difference caused by different oxidation numbers is balanced by the occupancy of a partially vacant 2c site and an O/N anion ratio in the Er6Si11N20O structure type. The Y6-xCa1.5xSi11N20O:Ce3+ (x = 2.5) phosphor is yellow powder with yellow luminescence; performing Rietveld refinement on the phosphor on the basis of the data obtained by XRD measurement results in the lattice parameters as described above. The Y6-xCa1.5xSi11N20O:Ce3+ (x = 2.5) phosphor has a broad emission band due to Ce3+ as an activator with the center wavelength of 565 nm. This phosphor has a broader emission band than a YAG:Ce3+ phosphor, which is a representative LED phosphor, and thus extends further into the blue and red spectrum ranges. Accordingly, this phosphor is an interesting phosphor that can be used for 1pc-LED with an improved color rendering index.

In this study, the artistic background and formative nature of representative 19th century realist artists Gustave Courbet and Honoré Daumier were analyzed and applied in a fashion context. By displaying representational desires (necessary adhesions of man and society) in their work, they became characteristic matrixes of critical realism and to perceive critical realism. The purpose of the study was to apply the characteristics of critical realism to the contemporary fashion collections of Alexander McQueen. Research was conducted to analyze the characteristics that appear in the field of fashion and to review methods of expression and internal aesthetics displayed through various aspects of fashion design. Characteristics of critical realism were analyzed by researching the formativeness and periodical background of the paintings of Courbet and Daumier. Based on these characteristics, analysis was conducted to identify critical realism in the fashion collections of Alexander McQueen. Data and scope included fashion information sites, internet photo data, and video material. Critical realist characteristics were categorized into five types as follows: ‘The proper borrowing of extremely realistic subjects signifies’, ‘satirical reconstruction and narrative composition’, ‘antipathetic distortions and abject representations’, ‘critical reproductions based on technology’, and ‘the maximization of ambivalent sexuality’. It was concluded that the characteristics of critical realism (recognized by the common formation of Courbet and Daumier) also appeared in Alexander McQueen's fashion collection but were inherited in a form that transcended pictorial expression due to the overall difference in use of visual arts.