This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women’s wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.

The purpose of this study was to propose various directions for effectively proposing window displays that satisfy changing consumer needs by investigating and analyzing the characteristics of unexpected expressions used in recent Christmas windows. Research was conducted by investigating unexpectedness in window displays through literature reviews and previous studies. To observe unexpectedness in Christmas windows, website-based case images of window displays from the six years between 2010 and 2015 were collected from the department stores of Bergdorf Goodman, Printemps, Selfridges, and Isetan. Unexpected expressions in department-store Christmas window displays could be categorized into four expressive methods of hybrid expressions, figurative expressions, amusing expressions, and exaggerative expressions. The results were as follows: First, hybrid expressions are interpreted by consumers as having new or diverse meanings that change the original external forms of subjects or objects. Second, Christmas colors are used in the window backgrounds’ figurative expressions, but these windows do not use excessive expressions; furthermore, these windows personify people as animals and anthropomorphize animals as people, using subjects to depict other subjects to show unfamiliar images. Third, amusing expressions are used to decorate windows with unique and novel ideas that provide stimulation and amusement for customers and capture their attention through the composition of windows that entail childish props and elements that create funny. Fourth, exaggerative expressions deliberately stretch and expand subjects or objects in windows to elicit customers’ curiosity and interest through emphasis.

The aims of this research were to characterize magic realism by analyzing existing magical reality literature reviews and research and to identify material that may inspire ideas for stage and film costume design by analyzing and drawing design characteristics and magic realism of costumes from Director Tarsem Singh’s movie, ‘Mirror, Mirror’. For the methodology, characteristics of magic realism in literature and, movies were analyzed, with a theoretical consideration of these materials on magical realism. Data on costume design and magical realism characteristics for use in the analysis were collected from the main characters of ‘Mirror, Mirror’ as well as from other characters. The result of this analysis was the emergence of five common characteristics of the magic realism Historicity, the most remarkable characteristic seen in Tarsem Singh films, was expressed through the symbolic meaning and decorative patterns shown by the traditional-style costumes, colors. Symbolization was expressed through the symbolic meaning, decorative elements, and traditional clothes, as shown by the colors and forms of the costumes. Fantasy was expressed through the colors, decorative elements, forms of traditional clothing, and forms with symbolic meaning. Reproducibility was expressed through the method of decorative element, symbolic meaning, traditional forms and de-structural clothes. Ambiguity, which can be associated with the combined characteristics of historicity and fantasy, was expressed in the clothes worn in the scenes that confounded time and space within the film.

This paper aims to analyze the characteristics of the contemporary Chinese fashion market and the competitiveness of Korean fashion brands in China. Fashion professionals experienced in both the Korean and Chinese fashion markets participated to investigate the Shanghai market and consumers. The results of in-depth interviews show that Shanghai is the most favorable city among Tier 1 cities for Korean fashion brands planning on entering into the Chinese market. Shanghai consumers are open to international brands and highly prefer newness in fashion. Contemporary menswear was selected as a potentially big market due to the increase of unique, young, upper-middle-class male consumers. The Korean fashion brands’ strength is that they are capable of satisfying Shanghai consumers with excellent product planning and sensory design capabilities. Their disadvantage is that their brand recognition is weaker than that of global and international brands, and their ability to localize to the Chinese market is weak. The opportunity comes is from the Korean Wave, which is a positive for Korea's products and has good geographical access. The threat is that the Shanghai market is fiercely competitive; having access to many worldwide brands, and the competitiveness of Chinese brands is on the rise. To enter the Shanghai market, creative design ability, trendy product development, skill, and appropriate PR methods such as using Korean culture contents would be required to satisfy the young, powerful consumers in Shanghai.

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women’s clothing collections perfectly covered up a woman’s body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women’s fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes’ colors and patterns, and the methods in which the decorative factors were utilized.

The purpose of this study is to delineate and analyze the expression of the kidult and its characteristics and thereby provide data to be used for fashion design in various manners as well as to suggest creative and varied possibilities of fashion design. As a way to study, the author of this paper organized the general terms, concepts and definitions concerning the kidult in the previous papers and journals. The data was collected from the collections represent the characteristics of kidult especially from 2006 to 2015. The results are as follows: Firstly, The characters stimulating the innocence of children were used the most for infantile expression. Parody used characters in the movie or famous logos. Déformation was used to create designs by way of distortion and deformation. Exaggeration thereby showing visually strong impression and inducing surprise and unexpectedness. Dépaysement was useful to let us describe concepts and enhance our infinite creativity and interests about objects using surrealistic. Secondly, Infantile characteristics used the images of toys with infantile imagination and sense of humor. Fantasy introduced objects or expressed a dream-like feeling. Unexpectedness used two-faced ideas or conflicting ideas to express conflicts, collision and an interchange with heterogeneous things, avoiding the limit of size and the simplicity of materials. Parody used jocular expressions, satire and ironic expressions to express the original image in a fun manner. Exaggeration transformed changed the structure to restructure objects in a subjective and creative manner, thereby expressing creative patterns using various subject matters by way of special modeling or distortion and transformation.

Born in the 19th century as an intermediate between the past and the future, steampunk provides a strong feeling of fantasy. The objective of this research is to understand the utilization of steampunk in all realms through an in-depth literature review and empirical study. Taking the findings as a foundation, we will analyze examples shown in fashion designs that are put into real production, and those designs that can provide inspiration for further design development. The research methodology will constitute a major analysis of advanced research, internet materials, and literature. Photo materials will be collected from professional websites for steampunk. The product method such as follows. Firstly, we will classify the internal meaning of characteristics in steampunk that are similar to the characteristics that are being researched, then take it as the standard and arrange to integrate all five features: restoration, pluralism, duplicity, resistibility and abnormality. We will spread out the design based on images from advanced research. Secondly, in order for to design a steampunk product, I decided on four themes: devastated environment, brutal wars, cool-headed machinery, and the overlap of the future and the past. Inspiration was acquired from representative movies and animations featuring steampunk. Thus, new directions for fashion design with steampunk features can be discovered. It raises the feasibility of this combination in modern society. In the future with the development of technology, it functions as a design that is easy for users to approach.

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer’s abstract concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

The purpose of this study is to create knit ruffles that represent the aesthetic and artistic values of painted works of art that rhythmically express flower petals and add an artistic impression on the knit ruffle designs. This study is based on the artistic life of Georgia O’Keeffe and changes in her artistic background, and the world of paintings. The relevant data was gathered from domestic and foreign references, academic journals, and the internet. The characteristics of Georgia O’Keeffe paintings were examined. Her paintings typically include a series of various motifs, symmetry, balance, and harmony of detailed realistic expressions and abstract elements, repetition, and the principles of contrast and emphasis in shaping. The decoration techniques used on fabrics were applied using the knitting machine which controls the tension to develop a variety of textures, apart from the previous standardized knit textures, through various knitting techniques. A gradation effect was then applied by piece-dyeing the knitted materials in various colors to express asimilarity to the original colors in O’Keeffe’s works with delicate color expressions. After the piece-dyeing, the decorative knitted materials were trimmed on a model to re-create the natural curves of flower petals. This study aims to converge works of art with fashion designs to develop various creative knitted fashion and to impart an artistic sense in the fashion design industry.

This study examines the formative characteristics of Fold architecture and how its properties are shown in the fashion of the modern work of Issey Miyake through analysis. In this research, the Fold classification criteria for analysis features that appeared in Issey Miyake fashion features were established through research literature on Fold architecture and leading research. Empirical data collection was conducted for Issey Miyake's work and collection by collecting photo materials, and design concepts and the results are analyzed in terms of features. Study ranges of Issey Miyake’s creative design development are Pleats Please, A-POC, 132.5 project, and collections from 2000 to 2014. The conclusion is as follows. First, design concepts presented in the Issey Miyake fashion features of Fold are Hybrid, topology, and uncertainty. Hybrid look for the meaning of fashion, which is the interaction between the wearer and garments. The concept of topology designs clothing, focusing on interrelationship of the body and clothing, and pays no attention to absolute size or the form of the clothing. The concept of uncertainty is an uncertain form that is infinitely expandable because all the elements have openness and uncertainty due to the determined incomplete state by the creator. Second, in the results presented in the Issey Miyake fashion features is the destruction of the boundary and diagram form. The destruction of the boundary is free from traditional clothing. The diagram form is a geometric form which does not create a Dart or Princess line.

Background/Aims: The ballooning time in endoscopic papillary large balloon dilation (EPLBD) remains controversial. The aim of this study was to evaluate the significance of the ballooning time comparing an immediate balloon deflation method with a conventional ballooning time of > 45 seconds. Methods: Between January 2010 and December 2010, 126 patients with bile duct stones treated with EPLBD and endoscopic sphincterotomy were divided according to the ballooning time: the immediate deflation group (n=56) and the conventional inflation group (ballooning time 45s to < 60s) (n=70). Results: The overall success rate and the success rate of the first attempt of ERCP (endoscopic retrograde cholangio-pancreatography) were 96.4% (54/56) and 80.4% (45/56) in the immediate group and 97.1% (68/70) and 77.1% (54/70) in the conventional inflation group. There were no statistically significant differences in the overall success and the first attempt of ERCP success rate (p=0.99, p=0.66). The frequency of mechanical lithotripsy was 0% in the immediate deflation group and 7.1% in the conventional inflation group (p=0.065). Complications occurred in 3.6% (2/56) patients in the immediate deflation group and 8.6% (4/70) patients in the conventional inflation group (p=0.298). Conclusions: The ballooning time in EPLBD does not affect the outcomes of the treatment for bile duct stones. And the feasibility of the immediate deflation method in EPLBD is acceptable.

This study attempted to figure out the usage of the modular system in other fields through literature review and empirical study, analyze its structural method in fashion. After analyzing architecture & product-related books, the Internet data and previous studies, the modular system's five structural methods were obtained. Then, 991 photos of women's clothes from 2003 to 2014 were collected through the fashion websites in Korea and abroad. The results can be summarized as follows: First, the following five structures were derived: assembling structure, overlapping structure, arrangement structure, inserting structure and folding structure. Second, according to analysis on the structural method of the modular system in modern fashion, overlapping structure (34%) was the most common. Third, in fashion, the use of fastener for installation and removal is important for assembling structure. In terms of overlapping structure, 3D volume by vertical accumulation was commonly observed. Arrangement structure revealed a horizontal and flat shape through simple arrangement. In inserting structure, on the contrary, non-standardized modules were used as a part of clothes or decorative elements. In folding structure, origami technique for reduction and expansion was used.

This study aims to identify characteristics of neo-naturalism coming from periodical changes in the 21th society, culture based on naturalism and analyze the expressional and design characteristics of neo-naturalism on 2000s. For a research method, this study researched development of naturalism in fashion, and searched digital naturalism and ecology which are design paradigm effecting on neo-naturalism through literature research and preliminary study. Analyzing preliminary study on architecture, interior, fashion about digital naturalism and ecology design, concept of neo-naturalism identified and four expressional characteristics of neo-naturalism was classified, actual examples of neo-naturalism in 21th fashion were extracted and drew design characteristics. The results are as followings. Firstly, naturalism described nature as it is and developed according to the values and needs of the times. Naturalism in fashion showed natrual human body's curve, nature pattern and used natural materical focused on ideal beauty of nature. Secondly, neo-naturalism renews with the foundation of digital culture and ecology design paradigm, and focuses on the flexible possibility to express nature with digital, new media and formative art, and made the artificial nature uniting human-nature-environment as organic whole by ecology design paradigm. Thirdly, design of neo-naturalism divided four characteristics, nature's organic form, combination with the technology, ethical harmony with nature, global local design. The first characteristics of the nature's organic form are expressing silhouette of the nature's organic volume abstractly, the second ones of the combination with the technology are reinterpreting primitive nature contemporary with artificial sensibility of high technology, the third ones of the ethical harmony with nature are showing simple design and high-touch, and the forth ones of global local design are expressing cultural hybrid preserving vernacular design.

연노랑풍뎅이(Blitopertha pallidipennis)와 등얼룩풍뎅이는(B. orientalis)는 외 부 형태는 딱지날개의 얼룩무늬의 유무, 앞가슴등판의 점각의 모양, 수컷외부생식 기의 모양으로 구별이 가능하다. 하지만, 많은 개체에서 상기의 진단형질에 변이성 이 높아 정확한 종 동정이 어려운 분류군으로 알려져 왔다. 이에 대하여 본 연구에서는 두 종의 국내·외 표본들을 수집하여 mtCOI과 Histone H3(H3), EF1-α 유전자 마커를 이용하여 분자분석을 수행하였다. 결과적 으로, 연노랑풍뎅이와 등얼룩풍뎅이 사이의 종간 염기서열 분화율은 COI에서는 4.3~7.8%, H3에서는 0.4~2.5%, EF1-α에서는 2.2~5.4%로 마커별 염기치환율은 상이하나 NJ 분석에서 각종은 뚜렷한 단계통군을 형성하여 국내에서는 동소적으 로 존재함을 재확인 할 수 있었다. 하지만, 종내 변이 수준은 등얼룩풍뎅이는 COI 에서 0~4.6%, H3에서는 0~1.2%, EF1-α에서는 0~1.5%이며, 연노랑풍뎅이는 COI 에서 0~1.5%, H3에서는 0~1.2%, EF1-α에서는 0~1.5%로 등얼룩풍뎅이의 COI에 서 4개의 서로 다른 종내 그룹을 확인할 수 있었다. 특히, 한국산 그룹들과 일본산 그룹은 2.0~3.8%의 분화율을 나타내어 각 지역집단은 아종 또는 종 수준에서 종분 화기작을 겪은 것으로 추정되었다.

국내 연노랑풍뎅이속(Blitopertha)에는 어깨무늬풍뎅이(B. conspurcata), 연노랑풍뎅이 (B. pallidipennis), 등얼룩풍뎅이(B. orientalis) 3종이 분포한다. 이 중 연노랑풍뎅이와 등얼룩풍뎅이는 외부형태가 극히 유사하고 두 종간 수컷의 교미기 형태도 변이가 심하면서 서로 이행현상을 나타내는 등 정확한 종 동정이 어려운 분류군으로 알려져 왔다. 이와 같이 형태적 분류가 어려운 종들에 대하여 형태분석과 더불어 분자분석까지 통합한 연구로 극복해 보고자 이번 연구를 시도하였다. 우선, 국내산 표본뿐 아니라 등얼룩풍뎅이의 기산지인 일본표본과 연노랑풍뎅이의 기산지인 극동 러시아 표본들을 포함하여 mtCOI과 Histone H3 마커를 이용한 분자분석을 수행하였다. 그 결과, 두 종은 뚜렷이 분화된 종으로 진단되었으나, 등얼룩풍뎅이 계열에서 제3의 새로운 종이 국내에 존재하는 것으로 추정되었다. 아울러 분자 분석된 표본의 분포를 보면, 두 종은 동소적으로 혼재된 분포를 보이는 것으로 나타났다.

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer’s brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer’s name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.