The aim of this study is to investigate the effect of wear resistance with 3D printing of DLP(Digital Light Processing). For this purpose, three wear factor which are wear loss, coefficient of friction and friction force applied to test wear-resistance. Wear test of ball-on-disk has been performed using steel balls to determine the variation of wear characteristics. Finally, the coefficient of wear was calculated by the Archard wear equation with 3D printing of DLP.

This study was performed to apply and to utilize the digital forecasting information for Integrated Pest Management at pepper field in Chungbuk province. Chemical spray according to the forecasting prediction using FarmIPM and NCPMS were compare to the that of no control and conventional control. Pests such as Oriental tobacco budworm, Western flower thrips, and Cotton aphids were investigated the control effect by the forecasting modeling information at three pepper plots. Damaged fruit ratio (%) of Oriental tobacco budworm was ordered into no treatment (30) > forecasting (20) > conventional (12), but damages by other pest was insignificant. The frequency of forecasting control was ordered into NCPMS (31) > conventional control (17) > FarmIPM (8). Damaged fruit ratio (%) of Oriental tobacco budworm was ordered into no treatment (35.5) > NCPMS (26.1) > FarmIPM (24.6) > conventional (13.9). Density of western flower thrips was higher but had no problematic by the chemical control when it is hard to analyze the damage by cotton aphid occurrence. Damage by cotton aphids has no prediction of forecasting but done with 6th chemical spray, and their damage ratio (%) was ordered into no treatment (67.7) > FarmIPM (16.2) > NCPMS (11.3) > conventional treatment (4.8). At an analysis of economic value, gross profit was highest in FarmIPM and next to NCPMS > conventional control.

The aim of this study was to set up the optimal exposure condition according to detector type considering image quality (IQ) with radiation dose in chest digital radiography. We used three detector type such as flat-panel detector (FP) and computed radiography (CR), and charge-coupled device (CCD). Entrance surface dose (ESD) was measured at each exposure condition combined tube voltage with tube current using dosimeter, after attaching on human phantom, it was repeated 3 times. Phantom images were evaluated independently by three chest radiologists after blinding image informations. Standard exposure condition using each institution was 117 kVp-AEC at FP and 117 kVp-8 mAs at CR, and 117 kVp-8 mAs at CCD. Statistical analysis was performed by One way ANOVA (Dunnett T3 test) using SPSS ver. 19.0. In FP, IQ scores were not significant difference between 102 kVp-4 mAs and 117 kVp-AEC (28.4 vs. 31.1, p=1.000), even though ESD was decreased up to 50% (62.3 μGy vs. 125.1 μGy). In CR, ESD was greatly decreased from 117 kVp-8 mAs to 90 kVp-8 mAs without significant difference of IQ score (p=1.000, 24.6 vs. 19.5). In CCD, IQ score of 117 kVp-8 mAs was similar with 109 kVp-8 mAs (29.6 vs. 29.0), with decreasing from 320.8 μGy to 284.7 μGy (about 11%). We conclude that optimal x-ray exposure condition for chest digital radiography is 102 kVp-4 mAs in FP and 90 kVp-8 mAs in CR, and 109 kVp-8 mAs in CCD.

본 연구의 목적은 TV산업에서 지배적 디지털 TV에 영향을 미치는 지배적 디 자인 결정요인과 제품핵심요소를 규명하는 것이다. 이를 위하여, 전문가 설문조사를 통해 자 료를 수집하고, 구조방정식 모형을 이용하여 분석하였다. 연구 결과, 지배적 디자인의 결정요 인은 디스플레이, 디자인, 특성에 영향을 주고 디스플레이와 디자인이 지배적 디지털 TV를 만드는 데 영향을 주는 것으로 밝혀졌다. 본 연구는 우리나라 TV기업이 지속적으로 지배적 디자인을 선도하여 선도자로서의 역할을 유지토록 사업전략 수립의 기초자료로써 큰 의미가 있다 하겠다.

Analyzing asphalt mixture images can provide crucial information not only for generating advanced geometry structure in several numerical computations (i.e. FEM and/or DEM) codes, but also for numerically evaluating the material microstructure. It is well known that 3D X-Ray Computer Tomography (CT) can provide accurate and realistic microstructure information of asphalt mixtures; however, this technology still presents two limitations: 1) the equipment is very expensive and, therefore, only few pavement agencies can afford it, and 2) the software required to generate realistic image of asphalt mixture with three-phase structure (aggregate, asphalt binder and air-voids) is based on a global thresholding algorithm which cannot be easily accessed and edited by users and practitioners. In this paper, accurate and realistic 2D three-phase asphalt mixture images were generated using an advanced DIP analysis code (implemented on MATLABTM) and a common flatbed scanner, which can be easily purchased at relatively low price. The threshold algorithm was developed based on the computed results of Gmm (maximum specific gravity), Gmb (bulk specific gravity), VMA (voids in mineral aggregates) of given asphalt mixtures which can be experimentally obtained in a laboratory environment. 2D three-phase images of asphalt mixtures were derived from grey scale images (color intensity from 0 to 255) obtained from original RGB (Red-Green-Blue) scale images with a dual-threshold computation techniques (i.e. one step for computing air voids phase, T1, and a second step for computing asphalt binder (and/or mastic) phase, T2). An example of DIP analysis results is shown in Figure 1. Based on the computation results, quite accurate and good visual agreement was observed between RGB scale image and DIP analyzed image. The findings indicate that this advanced DIP analysis technique can provide reliable geometry and microstructural information for several numerical simulations such as finite element method (FEM) and discrete element modeling (DEM). This research work represents a solid base for performing simple 2D microstructure analysis using 2- and 3-point correlation function and for developing the Moon Cannone Falchetto (MCF) model which will be introduced in the next annual KSRE conference.

최근 기후변화로 인한 집중호우의 강도와 빈도가 증가하면서 아스팔트 포장의 포트홀 발생이 급격히 증가하고 있다. 포트홀은 아스팔트 포장에 침투된 수분이 교통하중과 함께 간극수압을 야기하여 아스팔트 포장의 골재 표면과 아스팔트 바인더 사이의 점착력을 약화시켜 박리가 발생하여 포장이 파손되는 것을 말한다. 이로 인해 아스팔트 포장체의 조기 파손이 발생하게 되면 아스팔트 포장의 공용성을 감소시키고 유지·보수비용을 증가시키므로 사용재료에 대한 점착력 특성을 파악하는 작업이 반드시 필요하다. 본 연 구에서는 아스팔트 포장시공에 많이 사용되는 3가지 종류의 아스팔트 바인더(PG58-22, PG64-22, PG76-22)를 선정해서 동적수침시험(Dynamic Immersion Test)과 바인더 점착력 시험(Bitumen Bond Strength, BBS Test)을 수행하여 각 아스팔트 바인더의 점착력을 평가하였다. 동적수침시험은 EN 12697-11 기준에 의해 수행되었으며, 주관적인 결과분석방법(육안평가)의 개선을 위해 DIA(Digital Image Analysis)를 통해 객관적인 평가를 수행하였다. 각 시편은 기존에 적용되던 육안조사와 무게변화 의 방법을 수행하는 동시에 객관적인 평가를 위해 Mesh Analysis 방법을 적용하였다. 각 시편을 동일한 조건에서 스캔하여 얻어진 이미지 파일을 총 400(20×20)개의 mesh로 나뉘어 각 cell에 대한 피복율을 5 단계의 가중치를 적용하여 계산하였다(Equation 1). Mesh Analysis의 결과를 적용하여 얻어진 기준값 (Threshold Value) 36을 기준으로 DIA를 수행하여 최종 점착력을 비교 ․ 분석하였다. Fig. 1은 동적수침 시험과 BBS Test로 얻어지는 수분민감성과 상온에서의 점착력결과를 나타낸 것이다. 본 연구에서는 DIT의 각 평가 방법을 비교하였고, 그 결과를 BBS 시험과 비교하여 아스팔트 바인더의 점착력을 평가하였으며, 도출된 결론은 다음과 같다. 기존의 DIT 육안평가 방법은 평가자 간의 차이가 크 기 때문에 주관적인 결과를 도출할 가능성이 있으며, DIA를 이용하여 보다 객관적인 평가를 수행할 수 있 을 것으로 판단된다. BBS 시험결과 PG등급이 높을수록 상온에서의 점착력이 좋다는 것을 확인할 수 있 었고, DIT 시험결과 또한 동일한 경향을 보이는 것으로 나타났다.

Stellar mass is an important parameter of galaxies. We estimate the dynamical mass of an elliptical galaxy by its velocity dispersion and effective radius using the Hernquist model in the framework of MOdified Newtonian Dynamics (MOND). MOND is an alternative theory to the dark matter paradigm. In MOND the dynamical mass is the same as the baryonic mass or luminous mass, and in elliptical galaxies most of the baryons reside in stars. We select elliptical galaxies between redshift 0.05 and 0.5 from the main galaxy sample and the luminous red galaxy sample in the Sloan Digital Sky Survey. We nd that the stellar mass-to-light ratio at different redshift epochs can be fitted by a gamma distribution, and its mean is smaller at smaller redshifts.

data. Recent developments in unmanned aerial vehicle (UAV) technology provide cost effective and real time applications for site specific data collection. For the mapping of herbage biomass (BM) on a hill pasture, we tested a UAV system with digital cameras (visible and near-infrared (NIR) camera). The field measurements were conducted on the grazing hill pasture at Hanwoo Improvement Office, Seosan City, Chungcheongnam-do Province, Korea on May 17 and June 27, 2014. Plant samples were obtained from 28 sites. A UAV system was used to obtain aerial photos from a height of approximately 50 m (approximately 30 cm spatial resolution). Normalized digital number (DN) values of Red and NIR channels were extracted from the aerial photos and a normalized differential vegetation index using DN (NDVIdn) was calculated. The results show that the correlation coefficient between BM and NDVIdn was 0.88. For the precision management of hilly grazing pastures, UAV monitoring systems can be a quick and cost effective tool to obtain site-specific herbage BM data.

In this work, we present the result of our follow-up observations of SDSS J092741.73+332959.1 and SDSS J130733.49+215636.7 using the 2.35 m Thai National Telescope and ULTRASPEC instrument. Both systems are listed among the recently found white dwarf main sequence binaries from the Sloan Digital Sky Survey. SDSS J092741.73+332959.1 is a new PCEB with a period of 2.3 days, the longest orbital period known to date for white dwarf binaries. SDSS J130733.49+215636.7 is confirmed to be an eclipsing system with a period of 0.21 days from the Catalina Survey's light curve, however the parameters for the white dwarf are still uncertain. Our goal is to determine precise parameters for both systems using the Binary Maker 3 software. The observation for SDSS J0927+3329 was done on 9 January 2014 in the SDSS r' filter while the data for SDSS J1307+2156 were taken in the z' filter on 27 April 2014. Our models show that the red dwarf companions in both systems are well constrained inside their Roche Lobes. We find that the binary M2/M1 ratio in SDSS J0927+3329 is close to 0.5, with white dwarf and M-dwarf temperatures of 12000 K and 3300 K, respectively. Our preliminary result for SDSS J1307+2156 show that this system has an extreme mass ratio of 0.3. The white dwarf in this system has a temperature of 7500 K and the companion star has an effective temperature of 3150 K.

This paper examines the effects of a story-writing class and a digital story-game class for primary school students at an after-school English program. To compare the effectiveness of a story-game p(23 students) and a story-writing class (22 students), this study used preand post- English achievement tests. This study also administrated a survey on students’ attitude towards their learning, and interviewed students as well as teachers. The results showed the two classes improved the students’ English ability in terms of reading, listening, writing and vocabulary over the 16 weeks. However, there were big differences between listening skills and writing skills between the two classes. The students in the story-game class showed a big improvement in listening skills. The students in the story-writing class were highly motivated by writing English stories in a group. Based on the results of the two classes, this paper discusses the factors that lead to an effective class with English story-based language learning. By exploring these elements, this paper suggests the educational implications for those who want to develop and implement a digital story-based language learning program for primary school students.

디지털 기술의 발전은 내러티브 영상콘텐츠에도 많은 영향을 미치고 있다. 디지털 영상이미지가 현실과 맺는 관계의 변화나 수용자의 문화인터페이스 변화는 텔레비전 내러티브 콘텐츠 구성 및 영상스타일 전략에도 변화를 요구한다. 하지만 디지털 합성 기술의 발전과 그 기술의 가능성에도 불구하고 디지털 내러티브 콘텐츠는 지각적 리얼리즘을 지향하면서 여전히 사진 사실주의를 완성하려는 영상이미지를 보여준다. 그렇다고 이러한 디지털 시대의 영상이 올드미디어 시대와 동일한 함의를 갖는 것은 아니다. 본고에서는 뉴미디어 환경에서 텔레비전 내러티브 콘텐츠의 영상 특징의 일단을 이해하기 위하여 SBS <별에서 온 그대>라는 드라마를 예시로 고찰한다. <별에서 온 그대>의 에필로그에서 몇 가지로 양식화되어 형상화된 영상들을 만날 수 있는데, 이들 영상들의 매개 전략은 흥미롭다. 비매개 전략으로 흥미로운 스토리를 담은 환영주의적 내러티브 세계를 구성하면서도 동시에, 불연속적 영상이 매체의 투명성에 반하여 하이퍼매개하면서 디지털 시대의 일반적인 영상 특성을 보여주기 때문이다. 본고는 이 드라마의 에필로그 영상이 비매개와 하이퍼매개 사이를 오가며 주는 영상의 매혹이 무엇인지, 또 이들은 디지털 시대의 영상들의 어떤 특징들을 공유하고 있는지 밝히고 있다.

Technological change leads to a value shift in human society. Various cultural experiences through the digital paradigm influence the expression of fashion. This article considers fashion film as a new form for presenting fashion and explores the distinctiveness of expression in digital fashion film. For the methodology, a literature review was conducted to examine the concepts and features of digital fashion film and metareality. Empirical research was also performed by drawing from Nick Knight’s digital films, “Sans Couture”, “#asif”, and “The Elegant Universe” and by specifically analyzing the classification of the themes, visuals, and auditory expression. The results are as follows. The proliferation of fashion film has accelerated in the internet environment. New media in the digital era allows images to become more realistic and variable through immaterial conversion. Metareality is the notion of a reality beyond existence. A metarealistic image maintains the metaphysical nature of an object and transcends empirical appearance. It possesses immaterial, transboundary, and multidimensional features, and the image is realized by digital technology. The expression analysis identifies the metareality expressed in contemporary fashion film appearing as atypical forms, irrational combinations, and the playfulness of motion. It shows a positive attitude, transcending the immaterial limit of reality toward fashion. This study indicates how fashion as products challenges the metaphysical transformation in the digital era. The exploration of metareality in digital fashion film promotes a wider perspective and understanding of the concept of fashion.

영국은 2014년 저작재산권 제한의 범주를 확 대하는 7가지 개정법을 시행하였는데 그중 사적 이용을 위한 사적복제의 경우에는 국가별로 조금 씩 그 규정과 함의가 다르다. 이번 개정을 통해 영 국은 독일과 일본에 이어 사적복제의 저작권 침해 여부를 결정할 때 원 저작물의 합법성을 전제하고 사적복제물 이용 범위를 복제 행위자에 한정하며 저작물에 적용된 권리보호기술을 우회하는 것은 불법으로 규정하였다. 사적복제의 도입과 동시에 저작권자의 권리를 보호할 수 있는 또 다른 방법 중 하나는 사적복제보상금제도를 도입하는 것인데, 사적복제를 가능케 하는 기기나 매체에 보상 금을 부과하여 저작권자에게 돌려주거나 문화 산 업에 투자하고 있다. 하지만 영국은 이번 개정에서 사적복제를 허용하여 저작재산권 예외 사항을 확대하면서 보상금제도의 도입은 하지 않아 유럽 연합 저작권지침에 어긋난다는 비판이 있다. 관련하여 2015년 6월, 영국 고등 법원이 정당한 보상 체계가 없는 사적복제 허용은 위법이라는 판결을 내며, 그 파장은 더 커질 것으로 예상된다. 우리나 라 역시 사적복제를 허용하고 있으나 사적복제보 상금제도 등을 도입하지는 않았기 때문에 이 사례 에서 고려해야 할 법정 쟁점이 있을 것으로 보인 다. 특히 사적복제 조항에 대해 개정을 고려하며 착안점으로 원 저작물의 합법성에 대한 제한, 사 적복제물의 이용 범위 설정, 원 저작물에 부여되는 보호기술의 우회를 고려하며, 제도적 보완을 위해 사적복제보상금 또한 도입을 검토할 수 있을 것이다.

The rapid development of digital technology makes it possible for fashion to combine new materials and technologies that maximize visual effects. In particular, the development of various fashionable technologies, which advocate a strong experimental nature of forward-looking images, have appeared in various ways by varying costumes with multi-functional concepts which have never seen so far, or interactive fashions. This study identifies formative features and the implicative meaning of inflatable fashion by escaping from traditional methods and function of costumes to analyze various types of inflatable wear that have function and form vary depending on the situation. Since the 1960s, new PVC and polyurethane materials and the development of high-frequency sewing technique enabled the mass production of inflatable products in rides and household goods that produced inflatable costumes to trigger a new visual interest in fashion. Inflatable wear, launched from a space look, has combined with digital technologies since 2000. Inflatable wear, one of various concepts of shifting wear, can transform function and form using a sensor in given circumstances that enable a focus on transformation. Therefore, it has been changed using multi-functionalities that can cope with a varying environment. The first type of inflatable wear, which represents an expansive simple costume image, is expressed as a swollen and expanded type such as part of skirt or jacket or dress. The representative work is ‘Kinship Journeys’ (2003-4 A/W Collection) published by Hussein Chalayan, which expresses the extension of simple forms and the extension of concepts. The second type of inflatable wear is a form conversion by remote control where the form was expanded by air insertion. However, this type has been produced by performance costumes that focus on immediate variability through digital technology. Diana Eng’s ‘Inflatable Dress’ is a work that shows a visual form conversion that highlights soft silk chiffon materials to plastic-looking materials with improvements in a flat silhouette to an extended three-dimensional structure. The third type of inflatable wear is the usage conversion type of multifunction concept. It is expressed by a function shifting design that uses a multipurpose concept through a conversion of usage and form. A sleeping bag, the representative work developed by C.P Company, can be used for multiple purposes such as a parka that wraps the full body or also acts as an up-and-down separable jumper; a sleeping bag form at bedtime and a bag form when moving. An analysis of inflatable wear types showed the following results. First, inflatable wear is an enlarged concept of costume different from traditional conventional costume stereotypes that creates an expanded communication and exchange space to express the garment of wrapping human bodies in liberal and various ways. Second, fashion combined with technology acts as a multifunction that actively introduces mobility and variability in costumes and expands the meaning and concept of fashion. Third, inflatable wear fashion is expressed as a performance arena moving forward from an experimental fashion show form that shows a distinctive difference before and after air insertion. Fashion design is identified as a method to stimulate human emotion and exchange mutual feelings and as a multi-purpose device that allows the protection and concealment; consequently, it is the best method to create visual stories that express the socio-cultural trends and conditions.

In the age of hybrid, the fashion industry has created multiple patterns of hybrid fashion due to mixed styles and genres. Fashion mixed with tradition and future and various cultures is emerging as a trend so that Asian cultures are reinterpreted in a modern way(Samsung Design Net. 2014). Korean images also change every year into a new type of cultural hybrid. This study aims to present esthetic and trendy hybrid outer wear designs applicable to the fusion of tradition and present and the west and the east as well as diverse life styles for the major target of consumption, the senior generation with young sense. This study conducted both theoretical and empirical study. The theoretical study looked into the characteristics of digital fashion illustrations using Sumuk technique and of senior outer wear through the precedent study and literature. In the empirical study, fashion illustrations were made according to the characteristics of digital fashion illustrations with Sumuk technique, and then fabric was made through digital printing. By doing so, hybrid outer wear designs for the senior generation were developed based on the characteristics of senior outer wear, and the real artwork was made. The findings are as follows. First, the characteristics of digital fashion illustrations using Sumuk technique are the hybrid expression where the spirit of inner feeling of oriental thinking, implications of symbolism and metaphor through blanks and lines, and fortuity of ink blurs and lines are recreated in a modern way through digital fashion illustration characteristics such as hybridity of multi-cultures and heterogeneous factors, expandability of blurring boundary, human-oriented playfulness, and sensibility of inner expression. Second, outer wear for the senior generation puts the most emphasis on aesthetic factors including designs, styles, youth, and complement of figure, followed by symbolism such as convenience of dressing or undressing, comfort, functionality of flexible size, trend, express of individuality, and dignity. In addition, this generation prefers outdoor wear for social, cultural, and casual activities and demand hybrid city wear designs adding the characteristics of outdoor wear that is highly worn for various city life styles. Third, the design motifs of fabric made by digital printing of Sumuk technique-based digital fashion illustrations include traditional ornaments of Joseon Dynasty such as norigae(Korean traditional ornaments worn by women), binyeo(Korean traditional ornamental hairpin), and ddeoljam(ornamental hairpin), mix traditional and Korean spirit with modern sensibility, and connote esthetic beauty of ornamental effects for women’s beauty and symbolism of lucky signs and wishes. Fourth, senior outer wear was designed using the made fabric. Work 1 arranged prints with the motif of traditional norigae in a spaced pattern. Hybrid outer was designed with comfortable, light, and reversible functions by using A line silhouette considering the senior generation’s figure, single buttons for easy clothing change, and outdoor wear materials and highlighted the utilization of city wear. Work 2 used border pattern of fashion illustration prints that use binyeo as its motif, and it was designed for social and cultural life styles with the fusion of tradition, which uses tent silhouette durumagi(traditional Korean outer coat) and composition lines that are plane and straight lines, and modernism. It highlighted functionality by using zippers and single buttons for each clothing changing and outdoor materials. Work 3 arranged fashion illustrations made by the motif of ddeoljam in a spaced pattern. This is a balloon silhouette considering the senior generation’s figure and a urban, modern design with unbalanced hem line with asymmetry of light and left. A zipper was attached, and a light and flexible outdoor material was used to emphasize its functionality. Work 1, 2, and 3 made the fabric of cultural hybrid sense using Sumuk technique-based digital fashion illustrations and used the design considering the senior generation’s figure and an outdoor material, and expressed easy clothing change and design of city wear. This is a hybrid senior fashion design expressing the fusion and coexistence of traditional and modern beauty, Korea’s oriental beauty and modern western beauty, and outdoor wear’s functionality and city life styles. This study will contribute to the invigoration of the senior fashion market that is newly emerging and the development of high-value added products as it presents hybrid outer wear adding functionality applicable to various life styles for the senior generation with the young sense.

China has become a key market for the luxury fashion industry. Yet the relationship with the role of digital marketing is still mostly unexplored. The increase of Internet in China has been Impressive. A report from CNNIC (China Internet Network Information Center) indicated that Chinese netizens increased to around 0.632 billion. Internet has a deep impact on people’s life, changing their lifestyles and consuming behaviours. For luxury brands entering Chinese market, the competition becomes fiercer. Despite the traditional marketing model, an increasing number of luxury companies are orienting their strategy towards the blue ocean—on-line market. On-line luxury fashion commerce has become a creative joint of Internet technology and business operations. Despite the fact that the Chinese market is regarded as potentially the fastest growing market for the luxury industry, many challenges exist nowadays since China is a young player in both luxury industry and e-commerce field. Some experts in the field believe that the limitation of customers’ experience is the most essential problem, and some others assert it would be difficult to do on-line marketing for luxury products. Besides, there is still an ongoing debate on the key factors that determine the success of on-line sales in luxury industry. Luxury Fashion customers are mainly composed by elder segment, while luxury consumers are increasingly becoming a younger segment (about under 40 years old) in China. In particular, their consumption concept is very different from that of traditional customers. A survey from McKinsey & Company indicates that there are almost 90% of Chinese Internet users living in tier1, tier2 and tier 3 cities have enrolled in a social-media site. Moreover, Chinese people are regarded as the world’s most active social-media population, around 91% of respondents telling they visited a social-media site in the previous six months, followed by 70% in South Korea, 67% in the United States and 30% in Japan (Chiu, Lin, & Silverman, 2012). This article is based on an exploratory study analysing the current situation of Chinese online market and the online shopping websites. Through interviews with customers who already had online luxury shopping experience and a questionnaire to about 150 potential customers of online luxury shopping websites, this paper tries to identify some of the key factors affecting the purchasing behaviour of Chinese customers of luxury fashion products. Based on the understanding of the current situation and the innovative role played by the digital orientation of purchasing behaviours in luxury, this article will introduce some hypotheses in order to verify the assumptions associated to key challenges and success factors in the Chinese market which can be the reference for luxury companies to fix their on-line marketing – pricing, distribution network, fashion brands variety. The exploratory study in the field has already showed specific results. With respect to pricing strategy for online purchasing, results showed clearly that besides the fact that traditional luxury purchasers are not price-sensitive also in relation to the fact that luxury products high price is a symbol of exclusivity; the modern luxury fashion Chinese customers, mainly composed by people younger than 30-years old, enjoying the wealth accumulated by their parents and other family members, have better education backgrounds which makes them have little conceptions about the purchasing power of currency. Logistics, which contain the products’ packaging, delivery mode and time and comprehensive quality of it appeared to be the one of the most important way to present the e-retailers’ services for online luxury customers. Through customers purchase luxury products online, the majority of them are still expected to enjoy the luxury experience and services just like in the traditional luxury boutiques. Based on the knowledge and the previous studies of luxury consumers and Chinese e-commerce two hypotheses will be proposed and verified in the empirical study. Furthermore, Supply channel for online luxury shopping websites have also shown to be also particularly relevant as the product quality and the modes are the most attractive factor for customers. A qualified supply channel will guarantee the products’ quality and variety for customers. Chinese market has its own characters and Chinese citizen shopping habits are also distinct, obviously, the current situation in China has indicated that luxury brands and e-commerce still in the run-in period. Through there are some successful cases in western countries which can partly provide some key factors for Chinese market, it is impracticable for luxury brands and some retailing websites copy their experience and follow those “rules” in China. It is quite critical for both luxury brands and e-commerce companies recognize the difference existed in this market, understand the real situation and then modify their marketing policies. This study has only analysed some of the key issues affecting the purchasing patterns of luxury fashion customers. Consequently more quantitative and qualitative research in the field that analyses it from different perspectives it is suggested.

The aim of this research is to expand application areas of the advanced manufacturing concept and technology based on combining the traditional weaving techniques with digital forming technology. Through the man-machine interface of traditional weaving techniques of processing machines and craftsmanship complex data visualization and interactive operation, Virtual Reality Technology can realize computer model images, which is a kind of new form of artistic language and the key of VR art presenting its unique advantages. Combined with digital technology, the production of raw materials can generate 2D graphics, and 3D object can also be generated by using rapid solidification laser material preparation and forming technology (3-Dimension Printing). In one word, the traditional weaving techniques of processing machine and craftsmanship realized the complete inheritance. In this paper, main content are 4 parts including the analysis of ethnic traditional weaving technology in southwest areas of China, the usage of fashion digital simulation forming technology, the combination of traditional weaving technology with digital forming technology, and expanding of digital customized technology. We started our research work using grass linen and its weaving machine. In the end, the conclusion of study will be used to build the digital museum online for Southwest Ethnic Traditional Weaving Technology Museum, which is also bridging around world marketing for traditional culture.

We are in the midst of a digital revolution, in which real-time technologies have become disruptive forces shaping the fashion industry, necessitating for a revision and re-conceptualizing of extant fashion theories about diffusion of innovations and dissemination of fashion trends.