서평

Intermedia is a term that refers to the convergence of different media. It has not only enabled the delivery of brand message but also developed interactive communication in a contemporary fashion show context. This study investigates the presentation methods of contemporary fashion shows affected by intermedia. We examined the research and theory related to intermedia and fashion shows by accessing articles since the 2000s concerning 252 shows by 30 designers that tended to demonstrate the use of intermedia. Our analysis highlighted four particular characteristics: “medium scalability” (the unity of art and fashion and the unity of life and fashion); “synesthetic flow” (the audience’s emotional immersion, represented by the actual performance and performances of the models); “participatory accessibility” (performance participation through action and instrumental support); and “immaterial symbolization” (an intuitive symbol that emphasizes both the direct outward appearance and the metaphorical symbolism so that the object is expressed in a figurative sense). From these results, we identified considerable synergy between the characteristics of intermedia and contemporary fashion shows. Therefore, it might be useful to conduct an experimental study on this area of research.

주지하듯이 기존의 한국 문인화에 대한 연구는 미술사가나 미술평론가들이 고전 자료를 중심으로 한 화론적(畫論的)인 내용이나 한국 현대문인화의 문제점 분석 등 관념적인 내용의 연구가 대부분이었다. 이에 본 연구에서는 이러한 한국 현대문인화의 본질(本質)을 중시하는 관념적인 내용에서 벗어나 논자가 미술현장에서 직접 체험한 경험을 바탕으로 한국 현대문인화의 실존(實存)을 통한 한국 현대문인화를 전통적 경향과 현대적 경향의 작품으로 분석하여 한국 현대문인화의 새로운 발전 가능성을 모색하고자 하였다. 엄밀하게 말해서 작품의 성향을 규정하는 것은 쉽지 않은 일이며 오해의 가능성이 크다. 또 같은 작가라고 해도 각각의 작품의 내용과 방향성은 세부적인 면에서 큰 차이를 갖는다. 하지만 이러한 위험성에도 불구하고 현대문인화를 전통적 경향과 현대적 경향으로 나누어 구분할 것이다. 구체성에서 멀어진 대신 지극히 단순함이 갖는 이점 때문이다. 이를 통해 한국 현대문인화를 구조적으로 개괄함으로써 복잡하고 다양한 작품들 때문에 접근하기 어려웠던 한국 현대문인화에 대한 기본 틀을 확립할 수 있을 것이다.

1990년대 한국 현대미술계의 지형 변화는 이데올로기 대립 구도의 붕괴, 세계성과 지역성의 충돌, 아날로그와 디지털 체계의 교차 등 당시 대내외 사회변동과 밀접한 관련이 있다. 그 시기 ‘신세대 미술작가’라 불린 일군의 젊은 세대 작가들은 이질적이고 복합적인 예술 활동을 벌였는데, 이들은 시대적인 구도 변화의 의미를 분명하게 포착하고 있었다. 작업 초기 신세대 작가로 호명되었던 이불은 초기 퍼포먼스부터 1990년대 이후 다양한 미술 활동들로 대내외 미술계를 넘나들었다. 본 논문은 이불의 미술 작업을 통해 우리 현대미술이 동시대성을 획득하게 된 맥락을 구체적으로 추적하고, 당대 우리 미술계 내 세대전환의 계기가 단순히 어느 한 시기의 일정 상황과 관계하는 것이라기보다 인식체계의 전환과 연관된 바임을 다루고자 하였다.

The Belt and Road Initiative (BRI) is a new model of international cooperation and new platform for global governance under contemporary international law. The Initiative will promote basic principles of international law, playing the mediating role of preventing disputes and resolving various risks in the process of establishing a new pattern of global governance. The Initiative is in line with the new trend of international cooperation and development in the 21st century, representing a new round of the process of reforming international political economy. It is a useful attempt to enhance China’s contribution to economic co-prosperity and political stability among the countries along the Belt and Road. This paper tries to understand the BRI under contemporary international law. Part two will discuss the status of the BRI. Part three will investigate the influence of the BRI. Part four will analyze the function of contemporary international law for co-building the Belt and Road.

The purpose of this study is to analyze the eco-friendly design characteristics of contemporary children’s collections. Photos from FirstviewKorea were utilized for analysis; 29 brands were selected that included children’s clothing collections featuring eco-friendly characteristics from 2007 to 2018. The results are as follows. First, naturalness was the most frequent characteristic of environmentally friendly children’s collections. It was not conveyed in an eccentric way in any season, showed a relatively uniform distribution, and was seen in various ways, including printed on the fabric and expressed in appliqués and embroidery. Second, handcrafted features frequently changed according to seasonal trends. Various methods such as beading, embroidery, applique, sewing techniques, and handbags were used, which enhanced manual workability, discrimination from other designs. Third, traditionality is divided into the characteristics of ethnicity and revivalism. National traditions were expressed in the clothing and reflected the current generation while connecting to the past. Fourth, simplicity appeared in classic designs such as simple silhouettes, sparse decoration, natural colors, and comfortable dress length that is not tight on the body. Simplicity was not a frequent feature due to the characteristics of the children’s clothing collections. Fifth, playfulness functioned to enhance the children’s clothing’s wear frequency. Although it was the least frequent of all the characteristics, it seemed to increase the design fun and the clothing’s value by fusing with other characteristics such as handcraftedness and naturalness.

This study examines the characteristics of expressing hippie styles in contemporary women’s collections and analyzes them to benefit future fashion design and research. This study reviewed advanced research, fashion magazines, and information providers. The advanced research determined the study’s scope by pinpointing the designers who introduced the hippie style into their collections. The results are as follows: First, the reproduced hippie style appears as the combination of various colors and materials, a convergence or mixture of styles, or the use of collage or patchwork. It employs natural silhouettes or varied colors and materials, which makes the renewed hippie style more luxurious than in the past. Second, the reproduced hippie style emphasizes and distinguishes between two types of femininity: a girlish, romantic image using A-line silhouettes and, bright, gleaming colors, and a sexy version that boldly exposes the body or women’s curves and, uses soft and flexible materials. Third, the exotic tendencies found in the reproduced hippie style reflect the characteristics of the times, folk costume, or eastern or western features perceived as exotic. Recently, traditional costumes have changed slightly to recall characteristics found in the past. Fourth, the reproduced hippie style reflects hippies’ affection for and interest in nature by using environmentally-friendly materials like natural fibers. Flowers, the symbol of hippies, appear most frequently.

본 연구는 2012년 1월부터 2019년 1월까지 과천경마공원에서 경주한 더러브렛, 6,762두의 주파기록, 총 82,796개를 이용하여 동기군의 구성을 조사하기 위하여 수행되었다. 모든 경주거리에서 우승마의 주 파기록이 1초 감소하면 해당 경주의 평균 주파기록은 0.89초에서 0.99초 감소하였다. 주파기록에 대한 동기군의 효과는 총변이의 약 41%를 차지하였으며, 참가경주의 효과는 일괄적으로 모든 경주거리에서 가장 크게 나타났다. 동기군을 포함한 모형(Ⅰ)과 우승마 기록을 포함한 모형(Ⅱ)에서 추정된 주파기록에 대한 유전분산은 각각 0.4760과 0.4148, 유전력과 반복력은 각각 0.26, 0.47과 0.22, 0.40이었다. 모형 Ⅱ에서 추정된 유전분산과 유전력은 모형 1에 비하여 각각 13%와 15% 감소하는 것으로 나타났으며, 우승마의 주파기록을 환경효과로 모형에 포함하는 것보다는 동기군을 포함하는 것이 주파기록을 량하는데 있어서 더 유리할 것으로 판단되었다.

This study is aimed at applying the philosophical concept of “différance” to contemporary men’s fashion design, which could effectively show the shift in thinking. For the study method, the author examined the theoretical background of deconstruction and prepared the standard of analysis by organizing the concept of “différance,” which exists at the center of philosophy. This study selected the three most popular brands: Maison Margiela, Comme des Garcons, and Yohji Yamamoto. The results are as follows. First, there is expression of perpetual reservation emphasizing time. This includes texture, patchworks, hems with ladder, and exposure of seam that expresses the trace of time flow and delayed delivery of immediate meaning, and the expression creates delay between major and minor and leads to consistent role exchange. Second, the trace of blank that emphasizes the space gives a visual sense of weight on spares with the intentionally granted space, as well as the space that is the trace of trace and creates a sense of depth through the direction of empty space. Third, the space created in the process of wearing cloth is visualized, the structure of clothing is deconstructed, and the movement from the process recomposes the shape of space and expands the definition that enables expansion of time and space. Fourth, the undetermined relationship expresses the border of time and space visually and deconstructs time and space. The approaches are mostly constructive, demonstrating an avant-garde form of clothes-wearing to show the non-form or imbalance condition.

기독교에서 평신도란 사제나 목사가 아닌 사람을 말한다. 천주교에서 는 교황, 주교, 사제, 부제로 이어지는 성직계급과 평신도로 구분되어있으며, 개신교에서는 목사, 전도사와 평신도로 구분된 상태를 유지되고 있다. 천주교는 제2차 바티칸 공의회 이후 평신도에 대한 시각이 달라져 평신도가 성직자의 하위에 있는 것이 아니라는 입장이다. 현대 개신교 에서도 교회에서 평신도의 역할이 중요함을 강조하는 입장에 있다. 그러나 이처럼 달라진 시각에도 불구하고 아직 한국의 기독교 사회에서 성직자와 평신도의 관계는 적어도 교회 안에서는 평등한 위치에 있지는 않다. 본 논문에서 거론할 평신도 운동은 성직자가 주축이 된 운동이 아니라 평신도가 주축이 된 운동을 말하려고 한다. 평신도 운동의 기존 연구 성과들을 살펴보면 평신도 운동의 역사적 전개나 현재의 활동에 초점을 맞춘 연구보다는 천주교와 개신교 모두 평신도의 역할의 중요성에 대한 연구와 그것에 맞추어 어떻게 평신도를 교육시키고 활용할 것인가에 초점이 맞추어져 있다. 이러한 경향은 일 반 연구논문은 물론이고 학위논문에서도 거의 예외가 아니었다. 이 글은 평신도 운동들 가운데 주요한 것들을 중심으로 소개하고 평신도 운동에서의 특징과 그 전망을 고찰해보는 방향으로 전개할 것이다. 결국 이 글은 앞으로 관련 연구를 위한, 그리고 평신도 운동과 사회변동과의 관계를 파악하기 위한 기본적인 성격을 지닌다고 할 수 있다. 기독교에서 인식하는 평신도 운동의 목적은 천주교나 개신교 모두 선교의 중요성이다. 종교로서 선교가 중요한 것은 사실이나, 가장 시급한 것은 내적 개혁이라고 본다. 이러한 입장을 외면한다면 교라는 이름으로 진행되는 운동이 빛을 잃게 될 것이다. 그러므로 평신도 운동의 본 질은 자기반성 운동이고 기독교 본연의 모습을 찾아보는 운동이다.

Since the reform and opening up, the modernization of Chinese society has greatly liberated and released the productive forces, and broadened the ideological and cultural horizons. Under the guidance of the concepts of "Chinese characteristics", " view of global history" and " the awareness of a community of shared future for mankind ", Chinese society has gradually entered a prosperous and well-off era from the era of scarcity. with c At the same time, contemporary China also typically shows many "faces" of consumerist aesthetic cultureharacteristic of utopia , such as "Wu", "Xin", "Mei" and "Le". The pursuit and imagination of "Wu-topia", "Xin-topia", "Mei-topia" and "Le-topia" are constantly transformed into confusing ideology in the era of Consumerism under the mechanism of capital, technology, market, media and advertisement which makes Utopia lose its ideal feelings, revolutionary spirit and critical nature. As a result,utopia is becoming dystopia. Heading for the future,it would be significant for us to understand deeply the aesthetic cultural phenomena in the development-transition period of China ,transform creatively the excellent traditional Chinese cultural thoughts, absorb foreign civilization ideas, and reconstruct the new social aesthetic culture finally.

The purpose of this study is to serve as a reference for creative fashion design by analyzing the types and aesthetic characteristics of trompe l’oeil in contemporary men’s fashion. This research is an empirical study that utilizes both qualitative and quantitative methods to analyze fashion design cases and research articles such as academic papers and professional books. The study covers four major men’s collections: Paris, Milan, New York, and London. The period being analyzed is from 2005 Spring/Summer, which is widely regarded as a turning point at which men’s collections began rapidly, to 2019 Spring/Summer. The study analyzes 471 photos from domestic and international websites, with the following results. Types of trompe l’oeil in contemporary male fashion are classified into four types: (1) the deconstruction of clothing forms or creation methods, (2) optical illusions that create the effect of multiple layers of clothing on a single article of clothing and the reproduction of apparel details and clothing using 2D printing or embroideries, (3) realistic patterns on garments to create a camouflage effect, and (4) articles of clothing containing body images such as the chest, trunk, or internal human anatomy. These aesthetic characteristics in men’s fashion design using types of trompe l’oeil are playful, deconstructive, and decorative features based on hyper-reality. This study aims to acknowledge trompe l’oeil as being widely used in contemporary men’s fashion as a type of formative art, playing a crucial role in creative fashion design.

The purpose of this study is to classify and analyze the deconstruction phenomena expressed in contemporary knit fashion design, and to analyze the inner meaning of deconstruction based on certain characteristics. As a method of study, literature data for theoretical backgrounds, prior studies, and internet data were analyzed. The scope of this study was restricted to knitwear published in the world’s four major collections (Milan, Paris, New York and London) from 2014 F/W to 2018 S/S. Based on prior studies, four concepts of deconstruction were derived: “Différeance”, “Intertextuality”, “Intermeaning of Meaning”, “Dis․De Phenomenon”. The results of the study were as follows: first, “Différeance” refers to a transcendence of time and space. These expressions are discursive, unrealistic, and convey freedom through intent that deviates from rules and norms. Second, “Intertextuality” indicates a mixture of different texts, such as styles, materials, and items. These expressions deliver novelty with amusement, and can be entertaining depending on audience expectations. Third, “Intermeaning of Meaning” is accidental category - depending on how the wearer wears the clothing. -; accordingly, free and spontaneous creativity is an emerging trend in fashion. Fourth, the clothing was expressed in deformed and distorted form by the construction and destruction of the structure, a technique we describe as the “Dis․De Phenomenon”. In this concept, the sense of free design of young emotion appears along with the sense of purity and shock due to intentional inconsistency.

Introduction Globalization not only increases human mobility, but changes the relationship between international migrants and their country of origin. With improved transportation systems and new technologies, migrants can stay connected to their homeland in multiple ways. In the past, it was costly and time-consuming for migrants to "keep in touch" with their homeland. Thus, the ability to assimilate into the culture and lifestyle of the mainstream society was important (Alba & Nee, 2003; Portes & Zhou, 1993). At the same time, migrants and minority groups also form ethnic enclaves (e.g., Chinatown, Little Italy) where they can maintain the culture and traditions of "home" and preserve a part of their cultural identity (Portes & Manning, 1986). Contemporary migrants, however, live in a transnational social field (Louie, 2006). They can easily communicate with their friends and family back home. Even if they reside in rural areas, most goods from the old country can be found in the new country. Migrants can shop online for the groceries, books, fashion, beauty products, kitchenware, etc. from their homeland. They can listen to hit songs in their native language, keep up with the major news events, follow the newest TV series, cheer for their favorite sports teams, watch live election results, and more—almost as if they have never left. Traveling back to the homeland is one important way for migrants to main transnational ties (Haller & Landolt, 2005). This type of travel is commonly known as diaspora tourism (Coles & Timothy, 2004), VFR tourism (Uriely, 2010), and roots tourism (Maruyama & Stronza, 2010). Migrants may visit the homeland for various reasons, including: leisure, business, local food, culture and heritage, quest, retain ties, finding oneself, roots-seeking, personal identity, connection with place, obligation to ancestors, recovery of social identity, and family togetherness (Kluin & Lehtom, 2012; Li & McKercher, 2016; Murdy, Alexander, & Bryce, 2018; Ray & McCain, 2012). Given that contemporary migrants can engage in transnational practices in the host society, and take part in various types of leisure activities that are related to the culture and lifestyle of "home," the question is: do migrants still feel the need to visit the homeland in person? Or since everything is readily available, they do not need to go back as often as before. On one hand, participating in transnational leisure activities may strengthen their attachment to the homeland and increase their longing to return. On the other hand, the accessibility of homeland goods, services, culture, and relationships through global networks may decrease the desire and frequency of traveling back to the homeland. Therefore, the purpose of this study is to examine the relationship between transnational leisure activities and motivation to visit the homeland. Specifically, do migrants‘ transnational leisure participation and involvement influence their diaspora tourism motivation? Literature Review Transnationalism refers to the interconnected lifestyle and social experience of immigrants maintaining multiple ties with their home and host societies (Basch, Glick-Schiller, & Blanc, 1994). Transnationalism could be sustained through different types of activities, including economic, political, social, familial, religious, and cultural activities. Although leisure activities have not been a focus of transnationalism research, some cultural transnational practices overlap with leisure activities. The Immigration and Intergenerational Mobility in Metropolitan Los Angeles study (IIMMLA) found that 8.1% of second-generation immigrants participated in organizations associated with their parents‘ country of birth, and 48.7% watched TV or listened to the radio in their parents‘ language at least once a week or more (Rumbaut et al., 2008). The Immigrant Second Generation in New York study (ISGNY) revealed that ethnic music is very important to West Indian immigrants, and they listened to more ethnic music. Chinese-Americans, however, might listen to some Cantonese pop, but usually not traditional Chinese music (Kasinitz et al., 2008). Within leisure research, most studies on the leisure activities of immigrants employ the theory of acculturation. The focus was not on transnational leisure, but on immigrants‘ leisure participation within the mainstream culture of the host society. Many studies examined the effect of acculturation on immigrant leisure, be it participation, perceived benefits, motivations, or constraints. Floyd and Gramann (1993) compared Mexican- and Anglo-Americans to determine if the former‘s outdoor activity patterns and site visitation would be similar to the latter, based on different levels of structural assimilation. Shaull and Gramann (1998) also examined Hispanic- and Anglo-Americans to determine the impact of cultural assimilation on one‘s perceived benefits of outdoor recreation. They found a strong Anglo-conformity pattern in Hispanic-Americans‘ perception of nature-related benefits, while family-related benefits were less prone to the impact of cultural assimilation. Another study by Walker, Deng, and Dieser (2001) compared the motivations of Chinese-Canadians and Euro-North Americans for outdoor recreation. Their findings indicated that acculturation influenced the recreation motivation of Chinese-Canadians, both directly and indirectly through self-construal. The relationship between acculturation and leisure was also examined in Yu and Berryman‘s study (1996) on immigrant adolescents, which revealed a positive relationship between acculturation and recreational activities, and a negative relationship between acculturation and perceived barriers. A similar relationship was found in Scott, Lee, Lee and Kim‘s (2006) study of Korean migrants. They identified some constraints (i.e., lack of English proficiency and fear of discrimination) that varied by one‘s level of acculturation, while the biggest constraint, time, was not influenced by acculturation. Stodolska and Santos (2006) were the first to propose the concept of "transnational leisure," and they defined it as "leisure that is maintained by transnational migrants to foster their ties with their countries and communities of origin" (p. 162). Huang, Norman, Ramshaw, and Haller (2015) identified different types of transnational leisure activities by second-generation Chinese-Americans, and categorized them into four types: ethnic events and festivals, ethnic social clubs and organizations, ethnic media and pop culture, and Internet-based activities. As these previous studies were qualitative in nature, there is a need for more quantitative research so as to compare and identify different patterns of transnational leisure (e.g., level of involvement, frequency of participation) and examine how transnational leisure relate to other variables. Methods This study aims to examine the transnational leisure involvement and travel motivation of diaspora tourists. Specifically, overseas Chinese residing in North America (i.e., the USA and Canada) was selected as the target population. The service of a reputable and reliable international online survey company was obtained to reach out to this specific population of interest. Data collection took place from December 2016 to January 2017. A total of 808 responses were gathered. A questionnaire was developed based on previous literature. A list of transnational leisure activities with 19 items was developed based on the work of Huang et al. (2015). The transnational leisure involvement scale was adapted from the works of Kyle, Graefe, Manning, and Bacon (2003) and Kyle, Bricker, Graefe, and Wickham (2004). The scale consists of 14 items and three dimensions: Attraction, Centrality, and Self-expression. As there are many types of transnational leisure activities, respondents were first asked to go through the list and indicate their frequency of participation in each activity. Next, they were asked to think about "these activities" as they answered the leisure involvement scale. The measures for diaspora tourism motivation was developed based on Poria and colleagues‘ scale for heritage tourism motivation (2004; 2006a; 2006b), Kluin and Lehto‘s (2012) scale for family reunion travel motivations, and Li and McKercher‘s (2016) qualitative study on diaspora tourists. The last section of the questionnaire will be used to collect demographic information. Findings EFA was conducted to explore if transnational leisure activities can be categorized into different types. Three items were removed due to double loading (i.e., Sing Chinese songs in the karaoke, Online shopping for Chinese/Asian items, and Connect with friends and relatives in China through social media). Factor 1 consisted of 3 items that are basic common activities in migrant life, and was labeled "Basic" transnational leisure (i.e., Eat Chinese food, Shop for Chinese/Asian groceries, and Celebrate Chinese holidays). Factor 2 consisted of 7 items that are related to pop culture and internet-based leisure activities, and was labeled "Media-based" transnational leisure (e.g., Listen to Chinese songs and music, Watch Chinese drama, Visit websites related to Chinese or Chinese-American culture, and Read/watch the news related to China). Contrary to the individualistic nature of the activities in Factor 2, Factor 3 consisted of 6 items that are more likely to be group activities, and related to social clubs events and activities (e.g., Attend events hosted by Chinese ethnic organizations, Participate in Chinese cultural activities, Play Chinese board or card games, Attend Chinese concerts/performances, and Follow Chinese/Chinese-American sports players or teams). Thus, Factor 3 was labeled "Event-based" transnational leisure. Respondents‘ participation in these activities was measured on a 5-point scale of frequency, from 1=Never to 5=Always/Everyday. Overall, "Basic" transnational leisure received the highest mean score (M=3.82), while the means for "Media-based" (M=2.86) and "Event-based" activities (M=2.62) were lower. Although the mean scores in Factor 2 and 3 were not high, it should be noted that the nature of these activities are different. Chinese migrants can "Eat Chinese food" every day, but they cannot "Attending Chinese concerts" every day. Therefore, the mean scores for "Event-based" activities were the lowest. Moreover, ANOVA was conducted to compare five migrant generation groups (e.g., first-generation migrants who were born in the old country and relocated to a new country and second-generation migrants are native-born in the new country). The second generation had the lowest level of participation, while the first generation and 4+ generation had the highest level of participation in most types of transnational leisure activities. Correlation analyses further revealed that the frequency of "Media-based" activities and "Event-based" activities were positively correlated to the number of homeland trips, while the relationship between "Basic" transnational leisure and number of homeland trips was not statistically significant. Lastly, CFA was conducted to confirm the underlying dimensions of Transnational Leisure Involvement: Attraction (6 items), Centrality (4 items), and Self-expression (4 items). EFA was conducted to identify the dimensions of diaspora tourism motivation. The 11 items loaded on one of two factors: Chinese Culture (6 items) and Family Heritage (5 items). Multiple regression analyses were conducted, with the three dimensions of transnational leisure involvement as independent variables, and the two dimensions of diaspora tourism motivation as dependent variables. It was found that Attraction and Centrality would influence respondents‘ motivation for Chinese Culture, while Attraction, Centrality, and Self-expression would influence respondents‘ motivation for Personal Heritage. Discussion Results showed that transnational leisure involvement is useful in understanding the activity patterns of different migrant generations. Specifically, the relationships between transnational involvement and diaspora tourism motivation were consistently positive, which provides an effective means of segmenting diaspora tourists. Transnational leisure activities are good opportunities for homeland destinations to connect with diaspora tourists prior to their travel. Other than direct promotional activities, transnational leisure provides an alternative way to increase diaspora tourists‘ level of engagement and frequency of travel to the homeland.

This study was designed to deepen our understanding of contemporary luxury experience based on a systematic literature review. Based on the theoretical review, this study attempted to propose and elaborate two contrasting propositions (i.e., ephemeral vs. perpetuating values) reflecting the evolving luxury market. One key trend is that consumers pursue the value of hedonism providing immediate escapism and satisfaction in luxury consumption. The on-demand mindset of consumers looking for instant desire and gratification can be exemplified by the ‘See-Now, Buy-Now’ trend in the luxury market (Weinswig, 2017). While traditional luxury consumers pursued conspicuous value, consumers of new luxury pursue more self-centric and immersive experience. In line with this perspective, Yeoman (2011) noticed the trend of renting luxury products through online services. Another notable trend is that consumers seek inspirational resources in luxury consumption. For example, numerous luxury brands are showing various art exhibitions, and have their own art foundations, which Kapferer (2014) interpreted as the emergence of luxury brands exploiting artistic aura like art institutions. In addition, luxury brands have extended their products and services to encompass a whole set of lifestyle offerings when seeing the example of flagship store of Fendi, Palazzo Fendi (Waga, 2016). This review used a systematic approach for searching and assessing the existing scholarly evidence base to interpret two emerging trends in the luxury market. The further use of proposed framework and propositions in empirical research would help revealing how consumers subjectively perceive the contemporary luxury experience discussed in this study.

This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey’s six display factors. Projection features and movements were categorized into “Direct movements,” “Indirect movements,” and “Relative movements.” Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users’ motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.

Developments in the recent media era has made distortion possible in accordance with changes in the fashion industry as new clothing, technologies, and fusions have become available. Nevertheless, previous studies of specific types of clothing, and their classification for the purpose of research are lacking. Thus, this study examines the development of the Pomme de look and the form of modern variant that appears in fashion clothing and new technologies, and largely examines the clothing case to clean it up. The method employed is leading research that examines the transformation about the concept of the Pomme de look with regard to the fashion about the type of look in the 2000s and onwards. This is organized in accordance with the analytical and physical characteristics, and the esthetic aspects of the results are as follows. The conclusions reached as follows are based on this; first, the physical characteristic manner when based on previous looks, the two-dimensional deformation for making clothes, if there was a simple way, now has more dimensions. Clothes are made in a complex manner and variations emerge. Second, esthetic characteristics strive for beauty while also displaying the modified and more complex manners of clothing that are emerging. Third, the fusion clothing with machines effects to physical and psychological changes through the details about how the sensor is worn. The enemy, the appearance of distortion, and clothing are emerging. This is expected to grow further based on the rapid development of new technologies and the transformation of Pomme de look and design will appear in more varied ways to create a convergence.

Crowdsourcing models in which organizaions obtain needed product ideas and services from a crowd in a network-based society are rising as a global industry trend. The purpose of this study was to figure out the types and characteristics of crowdsourcing design shown in the domestic fashion brands, and to provide implications for design strategies using crowdsourcing. This study was based on qualitative research which was brand case studies on crowdsourcing design in the fashion industry from January 2006 to July 2017. Also, quantitative analysis using frequency and percentage was applied. The results were as follows: First, crowdsourcing design was used in almost all types of fashion brands, such as sports and outdoor wear, men’s wear, women’s wear, men’s and women’s casual wear, shoes, bags, school uniforms, jeans, accessories, etc. Crowdsourcing design in the fashion industry was classified into three types: crowdsourcing graphics and artwork; crowdsourcing customized designs; and crowdsourcing product designs. Of the three types, crowdsourcing graphics and artwork was used most. There were four methods to choose the best crowsourced design: review only by experts, voting by crowd and review by experts, crowdvoting, and crowdfunding. Second, the characteristics of crowdsourcing design were openness, participation, reward and acknowledgement, sharing and interaction, and individualized collective intelligence. Crowdsourcing design could be used as an open innovation strategy in the fashion industry, which could collect new and creative design ideas for product development, resulting in the satisfaction of consumers and benefitting the company.