The purpose of this study is to analyze the formative characteristics of women’s costumes among the Regency era’s elite in the television drama Bridgerton (2020). Its methodology investigates the socio-cultural background and literature on clothing in the Regency era. It also analyzes the formative elements of Daphne’s costumes (of the Bridgerton family) and Penelope’s costumes (of the Featherington family) representing the upper class. The study reveals that women’s costumes had a tubular silhouette consisting of a low neckline, high waistline, and short puffed sleeves. The series expressed well the Regency-era costumes, which were influenced by Neoclassicism and characterized by silk materials, shawls, gloves, belts, a reticule, and hairstyles. Among the formative elements, the Bridgerton and Featherington families’ costumes showed distinct differences in color, materials, patterns, accessories, and hairstyles. Daphne’s costumes were intelligent and elegant in pastel-toned blues and had small patterns. She carried small accessories and had a natural curled hairstyle. In contrast, Penelope wore decorative and splendid styles in intense colors and large patterns. Her accessories were large and colorful, and she had a strong curled hairstyle. These costumes express the Bridgerton family as aristocratic and the Petringer family as flashy, thereby distinguishing the two families. These research results will be presented as basic data for producing drama costumes in the 19th century to help complete the drama.

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people’s clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe’s shamanistic practices and lifestyle.

This study aims to use Art brut works—the artwork of the socially underprivileged and alienated—to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut’s concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann’s work were collected through online sources like the Gugging Museum’s website, Christian Berst Gallery’s website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann’s works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann’s works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann’s work is a color block design of fashion, which utilizes the formative fun.

The purpose of this study is to develop a knitwear design with the potential for practical use through a combination of science and design by examining the concept and formative characteristics of fractal geometry and applying them to the development of 3D virtual clothing knitwear design. This study produced five main conclusions. First, the sub-concepts of “Repeatability,” “Scale variability,” and “complexity,” which are based on self-similarity, appear together with simple regularity in the fractal formative characteristics shown in fashion design. Second, fashion fields apply fractal geometry in three-dimensional surface textures and optical textile patterns as a method of expression. Third, it was confirmed that various expressions can be created with fractal patterns by using the SDS-ONE APEX 3-4 design system; moreover, fractal patterns are a suitable design source for the development of Jacquard knitwear patterns. Fourth, in the development of knitted jacquard fractal patterns, by arranging the patterns in perspective, the effect of emphasizing or reducing the human body by optical illusion was shown. Fifth, a knit Jacquard structure with a pattern that exhibits fractal modeling characteristics and applying it to a 3D virtual clothing sample design reduces the time required for sample production while expanding the knit design’s expression area and reducing costs. Thus, the clothing sample confirmed the effectiveness of practical knitwear design development.

Evidence indicates that lower levels of obesity among school-age children can be achieved through active school travel modes which include walking. This research aims to empirically investigate the explanatory potential of the Ecological and Cognitive Active Commuting (ECAC) model to explain walking to school behaviour among Queensland children. The results from an online survey of 537 carers in Queensland, Australia indicate that the ECAC explained 53.4% of the variance in walking to school. Distance to school moderates the associations among walking to school behaviours, perceived risks, and social norms. Data indicates that changing carers’ social norms and lowering the perceived risks carers associate with walking to school will increase the incidence of walking to school in Queensland.

Introduction An individual’s Persuasion Knowledge is his or her knowledge of the persuasive nature of messages (Freisted and Wright 1994). Most adults are assumed to have this knowledge that enables them to be sceptical of persuasive messages, and to incorporate this information in their decision-making about promoted products. Children are viewed as vulnerable to persuasive messages (Nelson 2016) because they have not developed the appropriate knowledge base to be sceptical of messages (Mallinckrodt and Mizerski 2007) and thus unable to discount the claims made by marketers. This lack of ability to be sceptical is argued to lead to “…the vulnerability of young audiences to the negative effects of advertising” (Nelson 2016, p. 169) like obesity, materialism, poor quality of life and higher rates of mortality. Because of the wide acceptance that young children are particularly vulnerable to persuasive messages, advertising targeting children has been banned in several countries and proposed for others (Mizerski et al. 2016; Wang 2016). Many studies about Persuasion Knowledge or Advertising Knowledge (communication research) have been published over the 40 plus years since Ward (1972) first discussed the concept. However, few studies have tested whether Persuasion Knowledge is an antecedent to children’s sceptical responses to persuasive messages. The 11 studies that have tested the link (see Mizerski et al. (2016) for a review) used a wide variety of single item or reflective measures (measures that reflect the construct). They provide inconsistent findings except that the child’s age is positively associated with acquiring knowledge about persuasive messages like advertising or playing advergames. For example, while most researchers assumed or argued a positive link between young children’s persuasion knowledge and their scepticism, Buijzen (2007) and Christenson (1982) failed to find this link. Robertson and Rossiter (1974) reported children’s understanding of persuasive intent (commercials persuade one to buy things) was positively related with young children’s scepticism, but assistive intent (commercials tell one about things) was negatively related. The inconsistent findings of children’s responses to commercial messages may be due to more than the lack of consistent measures. The use of reflective rather than formative measure of young children’s persuasion knowledge may be another reason for inconsistent findings. “Young” children are those under eight years old (Mizerski 1) shashaatperth@gmail.com et al. 2016), but a lack of sufficient persuasion knowledge has been found with children over 16 years old (Carter et al. 2011). Most recent studies have adopted the Freisted and Wright (1994) Persuasion Knowledge Model that is based on the information processing of an adult buyer. Adults tend to have obtained Persuasion Knowledge so their knowledge may be captured with measures that reflect the construct. Young children are in the process of obtaining Persuasion Knowledge. The ability to understand the source of the message and the persuasive intent of the source are often cited as antecedents to having Persuasion Knowledge. These constructs form over time and cause persuasion knowledge (Nelson 2016). Therefore, it should be a formative measure. Measuring social class is a classical formative measure because causal elements like where you live and your profession can’t be accurately calculated for children. Social class forms over time. The use of a reflective measure when a formative measure should be used leads to several problems (Diamantopoulos and Siguaw 2006; Diamantopoulos and Winklhofer 2001), particularly an increase in Type II errors-“false negatives” (MacKenzie, Podsakoff and Jarvis 2005). For example, this means ruling out a causal element of persuasion knowledge when it is causal. This paper will compare existing single item or multi-item reflective measures used with young children, with a formative measure of the Persuasive Knowledge construct. The best way to validate a construct is to test it with external variables empirically and theoretically linked to the construct, including both antecedents and consequences (Diamantopoulos and Winklhofer 2001). Three variables, theoretically and/or empirically linked with young children’s Persuasion Knowledge, are tested in a baseline model to assess the external validity of the construct. These variables are age (Ward 1972), responses toward persuasive marketing messages (such as scepticism) and affect toward the persuasive messages (Mizerski et al. 2016; Wang 2016). Therefore, it is expected that the goodness-of-fit measures for the model using the formative measure of young children’s Persuasion Knowledge will provide a better fit to the data than the reflective measures. To further test the formative nature of young children’s Persuasion Knowledge, two additional models are tested. Researchers are responsible to set the weights of indicators of a formative construct, so a formative model with expert knowledge weights is developed (Figure 1). The indicators or elements of a formative construct should be able to reveal different facets so another model with different facets is developed. Consistent findings of the two models and the proposed baseline model will further support the formative nature of this construct. Apart from content validity and external validity, we also test the measures of the construct with another data set (Mallinckrodt and Mizerski 2007) to test the models’ generalisability. The Mallinckrodt and Mizerski study used children from a different cultural background (Australian vs. Chinese young children), but have similar ages and measures of Persuasion Knowledge and external variables. Further confirmation of the structure of the measurement model is provided if the same relationships are found with the second data set. Methodology Sample The population to be sampled are young Chinese children. China was selected because it has the largest population of young children, is the largest market for toys and a children’s toy is the stimulus product in the experimental study. The sample frame is day care schools in a Northern Chinese city of approximately eight million people. Procedure This is an experiment-based study with a control group. After individual exposure to a toy TV advertisement for a “magic ruler” that can be made into many different shapes with a Dinosaur shape shown in the ad, participants were each asked to answer questions. Cartoon pictures of the question options accompanied by verbal statements were used to reduce the possibility of misunderstanding young children’s responses on Persuasion Knowledge related questions. To reduce any effects of young children choosing the first option they see, pictures or options were shown in a random order. Children were told that there is no right or wrong answer, and they could withdraw at any point. Measures Persuasion knowledge was measured three ways; including a single-item measure, a summated-items measure, and a formative measure. Through an analysis and coding of 20 studies that tested the effect of young children’s persuasion knowledge (Mizerski et al. 2016), six items were found to measure the Persuasion Knowledge construct. The single-item measure used is the children’s understanding of the advertisers’ intention to make them ask their parents to buy (parent-buying intent). This was treated as the most important aspect of persuasion knowledge by several researchers (Carter et al. 2011; Mallinckrodt and Mizerski 2007). A summated-items measure included six items, frequently used in prior scholarly work. The formative measurement model was built using the same six items but by changing the direction of influence, with the causal flow from measures to the construct. Other variables include the children’s scepticism, their belief of false claims made in the ad and affect toward the toy TV advertisement (see Figure). After a CFA analysis with five questions, the scepticism factor score was derived as a standardised measure that followed a normal distribution. Scepticism ranged from -0.59 to 1.35, with an average of 0.07 and SD of 0.68. Belief of false claims (named as “false beliefs”) shown in the TV advertisement indicated that most children did not believe the two false claims included in the ad (84% and 69% respectively). Affect towards the toy TV ad was measured using one question: “Do you like this video?” to which most children (88%) indicated yes. Results, Discussion And Implication Fifty-four different patterns or combinations of the six persuasion knowledge items were found. This pattern show substantial heterogeneity in children’s Persuasion Knowledge, and further illustrates that young children are accumulating or forming their Persuasion Knowledge (Friestad and Wright 1994). In addition, these items have low correlations to one another that are typical of a formative measure. These findings of variability of knowledge levels and weak association between them indicate the potential multiple-dimension, formative nature of the construct of persuasion knowledge for young children. This may apply specifically to young children who are at the stage of increasing their learning abilities and developing or forming their knowledge. No relationship was found in the structural models using the reflective single-item measure and summated-items measure of persuasion knowledge, and the models showed a poor fit. However, relationships were found in the structural model that applied the formative measure of persuasion knowledge, with good model fit (see Table 1). Because a formative measure is supported, we tested the formative nature of Persuasion Knowledge on a previous study’s data (Mallinckrodt and Mizerski 2007). A formative model using that study’s data showed the same relationships between Persuasion Knowledge and its external variables. This consistency supports a formative measure of young children’s persuasion knowledge. Any review of future or past research should note the possible impact of using reflective measures of young children’s Persuasive Knowledge. To generalise the findings more research needs to be done for different product categories and age groups. More product categories, such as food and movies, and age groups could be taken into consideration. While few studies have tested the association of young children’s Persuasion Knowledge to scepticism toward the message, even fewer have tested the link of scepticism to young children’s responses to the advertised product (e.g. like, prefer, choose). Most of these studies do not find a link. If having Persuasion Knowledge doesn’t influence a young child’s desire for the brand, why teach it (e.g. Nelson 2016) or ban advertising because the children don’t have Persuasion Knowledge? Perhaps using a formative measure the link will be found.

This paper analyzes the formative elements of the Korean image and presents the means of development for modern fashion culture products that use the Korean image. The concept, type, and real state of modern fashion culture products were examined, with a focus on academic journals, advanced research, and internet sites. Fashion culture products can promote the Korean image to the world by securing national identity and enhanced image.

This study aims to clarify the aesthetic values between emotion of human and expression of technology in contemporary fashion as it analyzes formative characteristics of related cases in fashion based on principles of 3D Printing technology and the viewpoint of mechanic aesthetics. The conclusions of this study are as follows. First, 3D Printing fashion is not only expressed diverse variations by its principles of formative methods, materials and properties, but also changes of silhouette by applying system of designers. Second, general characteristics of 3D Printing fashion is represented by various applications in SLS system, and it can be specifically explained application to a portion of clothing, decorative roles of clothing, complicated pattern making through crossing fabrics using 3D scanner and displaying a certain object changing fashion styles, and so forth. Third, the formative characteristics of 3D Printing fashion from the perspective of mechanic aesthetics is as follows. It can be analyzed as the integration of metaphysical values through compared symbolization of natural feature and technical evolution, partial dynamics and interactive velocity-based, formative combinations for abstract expression using architectural components, cosmos images and substantialized structures through images of organic space interacted human shapes. As the mention above, 3D Printing technology can creative a diverse area of fashion, and express images of new technological fashion through various works with continuous development of techniques.

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating threedimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.

The purposeof this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

제품 디자인에 있어서 조형화 과정은 실체적인 존재를 만들어 내는 과정이며, 최종적으로 제품에 대한 결과를 이끌어 내는 중요한 과정이다. 이러한 조형화 과정은 일반적으로 디자이너의 주도적인 작업에 의해서 이루어지고 있으며, 이 때 다양한 조형 요소들을 활용하여 결과물을 만들어 낸다. 본 연구에서는 제품 디자인 프로세스에 있어서 제품 형태의 조형화 과정에서 다루어지는 요소들이 소비자와 디자이너의 시각 차이에 의해서 생기는 차이에 대해 알아보고 소비자가 제품의 조형화 과정에 직접적인참여를 하는 방법과 소비자의 요구가 보다 효율적으로 조형화 과정에 반영되는 디자인 가이드라인의 제시에 대한 가능성을 고찰하고자 하였다. 이를 위하여 먼저 제품 형태를 구성하는 요소들에 대한 정립을 선행하여 기본적인 제품 조형 구성 체계를 마련하였다. 이를 기반으로 기본적인 제품 조형요소와 제품 조형원리를 일부 설정하여 소비자를 대상으로 55개의 컨셉 제품과 64개의 스피커 제품의 이미지에 대한 반응 실험을 진행하였다. 또한 일부 실험 자극물을 이용하여 디자이너들을 대상으로 동일한 실험을 진행하였는데, 실험 결과 소비자와 디자이너는 형태의 조형 요소에 대해 어느 정도 시각 차이를 보이며 이는 디자이너의 경우 주관적인 디자인 통념에 의해서, 소비자의 경우 제품에 대한 미숙한 시각적 이해에 의해서 차이가 생기는 것으로 나타났다. 이 결과를 바탕으로 디자이너는 소비자의 최종적인 감성반응을 이끌어내는 디자인 과정에 있어서 형태에 대한 시각 차이를 이해하고, 형태 조형원리를 기반으로 하는 조형요소의 구성을 활용 할 수 있다고 본다.

디자인 조형화 과정에 있어서 최근에는 소비자들의 참여가 점차 늘어나고 있는 추세이며, 소비자들은 제품의 형태에 대한 직접적인 평가나 제안을 하기도 하며, 기업에서도 이러한 소비자들의 참여를 유도하기 위한 다양한 방안을 제시하고 있다. 하지만 근본적으로 제품의 형태를 다루는 데에 있어서 소비자와 디자이너는 어느 정도의 시각 차이를 가지고 있으며, 이는 곧 제품 조형화 과정에 있어서 소비자와 디자이너의 효과적인 커뮤니케이션에 방해요소로 작용하고 있다. 이를 해결하기 위해 소비자와 디자이너의 제품 형태에 대한 감성반응에 대한 특징을 통해 소비자의 감성반응을 이끌어 낼 수 있는 효과적인 가이드라인을 알아보는 방법을 연구하였다. 이러한 소비자와 디자이너의 제품 형태에 대한 감성반응을 알아보기 위한 실험을 진행하였는데, 먼저 제품 형태 기반의 감성 이미지 어휘에 대한 정립을 진행하였다. 정립된 이미지 어휘를 기반으로 각각 소비자와 디자이너에게 동일한 실험을 진행하였다. 실험 결과, 소비자와 디자이너의 형태에 대한 감성 반응은 유의한 성향을 띄게 되는데 이 때 디자이너가 소비자에 비해 보다 극적인 반응을 나타내는 특징이 나타났다.

그래픽 유저 인터페이스 디자인에서의 아이콘들은 시각언어로서 정보를 전달하여 사용자들의 행동을 유도할 수 있는 정보전달 매체이다. 그래픽 사용자 인터페이스에서 사용자와의 커뮤니케이션 수단으로 아이콘을 사용하는 것은 사용자가 인지하기 쉽기 때문에 임의의 사용자에게 원하는 시각정보를 효과적으로 제공하고 커뮤니케이션 효율성을 증대시키기 위해서는 Graphic User Interface이라는 매체의 특성에 적합한 아이콘 개발이 이루어져야 한다. 본 연구에서는 아이콘 유형인 그림 아이콘을 중심으로 하여 그림 아이콘의 각 세부적 표현 유형의 선호도에 따른 조형적 영향 요소간의 상관관계를 파악하며 각 표현 유형에 영향을 주는 조형 요소들이 무엇인지를 알아보았다. 이를 바탕으로 아이콘 디자인에서 사용자 선호 지향적 디자인 방향에 대한 지침을 제공하며 디자인을 할 때 데이터로 활용할 수 있는 이론적 근거를 제시하도록 하였다.

본 연구에서는 로봇디자인에 대한 선호 반응의 결과를 바탕으로 로봇 얼굴을 구성하는 조형요소의 조합 관계에 대한 특성을 분석하는 것이 기본적인 목적이다. 아울러 분석 결과로부터 선호도를 향상시키기 위한 디자인가이드의 제시 가능성을 고찰하고자 하였다. 이를 위하여 27가지의 로봇 얼굴 사진을 실험자극으로 선정하고, 선호 반응 및 연상 반응에 관한 실험을 진행하였다. 실험 로봇 얼굴의 형태 보다는 눈의 형태가 선호 반응에 많은 영향을 미치는 등 다양한 특성이 나타났다. 이러한 결과를 바탕으로 로봇 얼굴에 대한 선호반응에 긍정적 영향을 미칠 수 있는 각 조형요소의 특성 도출 및 기본적 디자인가이드라인을 제시할 수 있었다. 구체적으로 먼저, 눈의 형태는 세로의 길이가 가로 길이 보다는 긴(167%) 타원형을 적용하는 것이 필요하다. 그리고 눈 사이의 거리는 얼굴 폭의 35% 정도를 유지해야 한다. 또한 눈의 위치는 얼굴의 중심축으로부터 상향에 배치하여 시각적으로 안정감을 주는 것이 중요하다. 머리 전체의 형태는 원형을 이용한 구 타입이 바람직하다. 머리의 형태와 눈과의 조화는 로봇으로서 기본적으로 갖추어야 할 귀엽고 깜찍한 이미지를 구현하는 것이 필요하다.