本研究以回答「何謂好圖畫書」為主軸，透過兩階段進行探究：一為透過訪談方式，了解圖畫書文化迴路中發行者、創作者、消費者與經營者角色對「何謂好圖畫書」的見解，以及對現在台灣圖畫書市場的看法與建議，二為研究者實際進入幼兒園，以階段一的發現以及相關文獻資料的搜集，選定一本現在圖畫書較少見的題材與幼兒一同閱讀，進而探討台灣圖畫書市場有何可能的發展空間。最後，本研究共提出四個研究主張： 一、 批判媒體識讀的必要性 圖畫書的意義透過生產、消費、規制、再現與認同五個狀態彼此滲透循環而成，因此我們不應單純將圖畫書視為文字與圖畫的集合體，而是必須抱持批判的角度閱讀文本，找尋可能隱藏在文本中的真實。 二、 圖畫書多元主題的必要性 圖畫書受到商業利益考量、家長對孩子的教育觀等環境因素影響，具有「殘缺文本」的存在，即某些主題的圖畫書在市場中較為少見與處於弱勢，然而為刺激幼兒的批判閱讀能力，我們有必要提供豐富多元的文本給幼兒。 三、 不過度依賴書單的單一訊息 書單提供消費者消費的便利性，然而消費者也因此對書單過度依賴，所以閱聽人使用書單時應注意使用方式，否則容易喪失培養自我閱讀品味的機會。 四、 反對崇尚智識取向的圖畫書 台灣家長選書時，常受到「能否帶給孩子知識」的智識取向影響，然而這樣的思維容易讓孩子錯失閱讀多樣文本的機會，由於閱聽人可透過閱讀與批判的過程為文本賦予新意，因此圖畫書無好壞之分，端看讀者如何使用它。 / The purpose of this study is to answer ”What means good picture book?” and the concrete research concerns in this study include: (1) through in-depth interview with producer, author, consumer, and business operator in circuit of culture to understand how do they think about “good picture books ”, and their suggestion to Taiwan picture book industry, (2) choose one picture book which is rare in Taiwan picture books industry and study with children. There are four main findings from this study as follows: 1. The necessity developing critical thinking skills in media literacy Picture books are made through representation, regulation, consumption, production, and identity, so we can not only see picture books as a combination of words and pictures but try to find out the reality which hides in texts. 2. The necessity of providing multi-thesis picture books It exists “mutilated text” in picture book industry because of commercial profit and parents’ educational idea, but we have to provide children multi-thesis picture books to stimulate their critical thinking skills. 3. Do not rely on booklist too much We have to know that booklists make us choose picture books easier but may also make customers rely on it too much. 4. Do not advocate “knowledge-based” picture books If Taiwanese parents always choose “knowledge-based” picture books because they think those make children learn much more knowledge, children will loose their chance to meet multi-thesis picture books. In fact, texts do not really matter, but the key is how we read it with critical thinking skills in media literacy.

社會多元使消費者藉服飾表彰自我需求增加，而巷弄創業潮，則對應地為投入門檻較低的服飾業、街頭時尚帶來更多供給創意的從業人員；故在日本、香港傳入了「潮流」服飾品牌的概念後，很短的時間內全臺興起一股潮流品牌風潮，然對潮牌興起及其操作邏輯與其中的融文化（次文化與生活風格）於產品的概念，尚無足夠研究投入；因此本研究希望藉由Paul de Gay（1997）提出之文化迴路（circuit of culture）做為研究架構主體，以深度訪談、次級資料分析進行個案撰寫的質性、探索性研究，說明對於生活風格與次文化的認同，如何能夠透過在文化迴路上五項要素生產（production）、消費（consumption）、規制（regulation）、再現（representation）以及認同（identification）間連結的締造，融文化於產品之中，強化消費者對品牌的認同：本研究選取二個案：日本裏原宿潮流教父－藤原浩，及臺灣知名潮流服飾品牌Pizza Cut Five主理人Issa與Abee，進行對比與分析。研究發現，服飾界「潮流」是基底為次文化的街頭時尚之總稱，潮流的推力是背後的次文化與生活風格的蓬勃發展，及現代社會符號消費的形成、對生活風格的重視，產業面因素則為價值共創以及創意經濟興起，讓跨界合作成為尋求成長的必要手法；街頭時尚造就消費者認同之邏輯與主流時尚相同，但街頭時尚的生產者、文化媒介人與消費者之間的界限，不同主流時尚般角色分明。而身為文化媒介人的街頭時尚品牌主理人，運用其操作或轉化符號能耐，經由文化迴路進行消費者認同的擴大與增進；分析日本藤原浩與臺灣PCF個案，其品牌發展循文化迴路要項順序為：認同－再現－生產－消費－規制－再現，五要項缺一不可，且品牌特色必然來自於當地。二者營運策略之相同點，是皆由明確的單一次文化風格，到跨界的多元文化混合生活風格的提出，並在逐步擴大企業網絡的同時，限縮企業組織於核心設計與符號操作能力於小組織內。相異點則是在於藤原浩創立之品牌常以單一品牌停止－復活、多品牌同時運作的方式經營，PCF則以主題系列方式在一個品牌下持續進行變化。 / Multiculturalism has becoming a widely accepted norm in today`s society and thus increases the need of self expression through clothing. The rising of entrepreneurship also encourages more and more young and creative people to get involved in the clothing industry in Taiwan. As a result, soon after the introduction of “trendy brand（潮流品牌）”from Japan and Hong Kong, a wave of “trend” catches on in Taiwan. However, academic researches on how trendy brands are being operated（based on the subculture and lifestyle）are still rare. Therefore, this study applies concept of “circuit of culture” brought up by Paul de Gay（1997）as the research framework. By employing qualitative research methods of in-depth interviewing, secondary date analysis and case writing, this study attempts to explain how the identification of some subcultures and lifestyles play important roles in fusing culture into artifacts through five items（production, consumption, regulation, representation, and identification）in the circuit of culture. Consequently, brand owners can enforce consumers’ identification with their trendy brands. Two cases investigated in this study are（1）Japanese “Godfather of Ura-hara trend”－Hiroshi Fujiwara and （2）famous Taiwan trendy brand－Pizza cut five （brand director【品牌主理人】: Issa & Abee）. The study indicates that clothing industry’s “trendy brands” are promoted by the flourishing subculture, lifestyle and symbol consuming society. The rise of value co-creation and creativity economy also help trendy brands to cooperate with enterprises in other industries. Moreover, though the way street fashion affects consumers is the same as mainstream fashion, the boundary between producers, consumers, and culture intermediaries in street fashion is breaking down. Street fashion brand directors, as cultural intermediaries, utilize their abilities of transforming or manipulating symbols to improve consumer’s brand identification. By analyzing cases of Hiroshi Fujiwara and Pizza cut five, this study concludes that both trendy brands are popularized according to the sequence of identification－representation－production－consumption－regulation－representation, and the brand cultures are nourished by their local “terroir.” Similarly, both cases gained fame and fortune from a brand based on single subculture which subsequently evolved into various subcultures and fused with other subculture. Besides, while the business scopes of both cases gets wider, their organization boundaries downsize in order to reserve the core competency－ability of design. The difference between two cases is that Hiroshi Fujiwara manages his brands by suspending-proceeding method and operates several brands at the same time while Pizza Cut Five creates multi-theme series under one brand.