• Journal of the Korean association of regional geographers
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• v.17 no.6
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• pp.698-709
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• 2011

Wedding shops, which had been located in Jung-gu, Jongno-gu, Seodaemun-gu, and Mapo-gu in 1990, have been shown a rapid change in light of location since the year of 1995. Thus, most of shops are concentrated on Gangnam-gu in 2010. Wedding dress shops in Gangnam-gu were distributed between Kanglim Church and Apgujeong station in the early 1990s, and then moved gradually to Dosan park and then to Cheongdam-dong after passing through Hakdong intersection. Luxury image in Cheongdam-dong was the main reason for integration of wedding businesses. This intergration of shops showed the peak at the Cheongdam intersection. A motive of having come to start business in Cheongdam-dong was selected the high awareness and image in district, and was taken the ease for business-based cooperation and connection. High rent and inconvenient transportation were reasons for dissatisfaction. The business-based cooperation and connection were mostly formed through a consulting company. Level and reputation of relevant shops were important elements. Even the connective and associative shops are located the most in Cheongdam-dong followed by Nonhyeon-dong, Shinsa Apgujeong-dong in order. The cluster relationship was most noticeable in wedding studio, wedding dress, wedding consulting, and hanbok(Korean traditional clothes) business. Frequency of vertical cluster was indicated to be more than horizontal cluster. User behavior of wedding businesses in Seoul has been collecting wedding information through internet and wedding consulting business.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.11a
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• pp.214-217
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• 2009

현대 패션분야에서 디자이너들의 예술적 표현의 주제이자 매체로서 활용되고 있는 빛은 보다 감성지향적인 방향으로 발전되는 추세로서, 빛을 활용한 감성 패션디자인에 대한 표현 방법과 조형적 특성을 분석하는 것은 매우 의미있는 일이다. 패션디자인에서 빛을 표현하는 방법으로는 빛의 반사, 이미지 표현, 발광, 투사에 의해 독창적으로 응용되어져 표현되어 왔으며, 다양한 빛의 표현을 위해 재료의 물성을 조작함으로써 얻을 수 있는 빛의 유희, 명암이나 형태, 색채를 통한 빛의 재현, 발광물질이나 인공광에 의한 발광, 프로젝터를 통한 빛 이미지 등 다양한 표현방법이 활용되고 있었다. 빛이 활용된 감성 패션디자인의 조형적 특성으로는 상호작용성, 영상성, 투명성, 실험성으로 분류되었다. 상호작용성은 착용자의 행위에 의한 변형과 신체의 변화나 감정의 변화에 의한 불빛이나 영상 패턴이 바뀌는 등 형태나 컬러, 영상의 변형 등 착용자의 메시지 전달이나, 감정표현, 신체보호, 그리고 재미를 유발하는 효과를 자아내는 것으로 나타났다. 영상성은 디지털 이미지를 활용한 것과 내부 광원에 의한 발광성으로 분류되며, 드레스에 장착된 수많은 LED 에 의한 영상을 만들거나 이미지를 확대시키는 방법으로 표현된 영상성은 심미적인 효과가 우선시되었다. 투명성은 주로 비닐, 플라스틱, 기능적 소재 등 투명한 소재들을 이용하여 대부분 재료의 특성이 조형적 특성으로 분석되었고, 외부와의 개방성과 위장가능성의 효과를 준다거나, 투명한 재질에 이미지가 변화하는 이미지의 중첩성과 같은 효과를 나타내었다. 실험성은 새로운 실험적 도구로서의 패션을 표현하고자 할 때, '빛'을 매개체로 하여 관심을 유도하고 재미를 더해주며, 신비주의적 환상이나 호기심을 불러일으키는 효과를 나타내었다. 이처럼 빛을 활용한 패션디자인은 빛을 매개체로 하여 다양한 표현방법으로 활용이 가능하며 특유의 조형적 특성을 가지고 있음을 알 수 있었다.

• Korean Journal of Human Ecology
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• v.16 no.2
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• pp.407-419
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• 2007

The purpose of this study was to identify the effect of four clothing cues dot pattern size and ground field of color area ratio on dress's wearer image. The experimental materials developed for this study are a set of stimuli and response scales(The 7-point semantic). The stimuli were 30 color pictures manipulated with the combination of dot pattern size, dot pattern on background of color area ratio and neutral dress's using computer simulation. The subjects were 180 female undergraduates living students in Gyeong-nam. The result of this study are as follows: Image factor of the stimulus was composed of 5 different components (visibility, gracefulness, attractiveness, cuteness, womanly). Especially, Neutral color combination independently influenced the every components. In regarding the effect of interaction between each variable, the combination of dot pattern on background of color area ratio, dot pattern size on the combination had cuteness, womanly.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.896-909
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• 2005

In need of studies on the kinds and structure of thread, the biggest variable factor in knitwear patterns, this study attempts: to examine the physical properties by thread type to basically establish systematic data in order to utilize various mixture and structure of yarn and to contribute to the development of optical patterns by building a systemic and scientific methods to produce knit wear patterns though a statistical analysis of the relation between the variations and physical properties. The results is as follows: with time, a feature of knit, which causes instability making it difficult to maintain the original shape, related to material properties, the weight and expansibility recovery rate have the greatest influence on the variation of wale lengths, though the amount varies by material. The variation of course contraction is closely related to density, the dense fabrics showing the highest values, due to the bust of the human body, the wale length variation of the front is greater than that of the back, by a regression analysis of material properties and the variations is obtained showing the weight, density and expansibility recovery rate have the greatest influence on the wale extension and course contraction of knit.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1837-1847
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• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.687-696
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• 2006

This study aims at analyzing the silhouette, dress patterns and detail of Empire Era(1789-1825), and making use of this results for the modern stage costume construction. The dresses of Empire era were divided into X and H style. The results revealed that the bust girth of X style group was bigger than that of H style group. Such patterns as high waistline, puff sleeve, train, etc. which appeared during the peak time of Empire style period were more remarkable for H style group. This obviously indicated that more epical characteristics were observed for H style group than for X style group. Similarly to silhouette analysis, based on the results from cluster analysis conducted to put similar groups together, two groups were formed - a visually differentiated and complex group and a simple group in the absence of detail. Most dress details from Empire period had simple embellishments. Comparison of the average size of the patterns between two groups indicated that waist front length of H style was shorter than that of X style. Front interscye was even greater than back width for both groups. Such trend was quite different from today's pattern in which back width is larger than front width based on body measurements. Preference for big breast during the period was reflected on dress patterns and the side length of front side goes across the back much further for bodice patterns. Two representatives were selected and reproduced using materials similar to those of real dresses of Empire style, following two times fit test.

• Proceedings of the Korean Vacuum Society Conference
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• 1999.07a
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• pp.162-162
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• 1999

초고주파 집적회로의 핵심소자로 각광을 받고 있는 GaAs MESFET(MEtal-emiconductor)은 게이트 형성 공정이 가장 중요하며, WNx 내화금속을 이용한 planar 게이트 구조의 경우 임계전압(Vth:threshold voltage)의 균일도가 우수할 뿐만 아니라 특히 Side-wall을 이용한 self-align 게이트는 소오스 저항을 줄일 수 있어 고성능의 소자 제작을 가능하게 한다.(1) 본 연구의 핵심이 되는 Side-wall을 형성하기 위하여 PECVD법에 의한 SiOx 박막을 증착하고, 건식식각법을 이용하여 SiOx side-wall을 형성하였다. 이 공정을 이용하여 소오스 저항이 낮고 임계전압의 균일도가 우수한 고성능의 self-aligned gate MESFET을 제작하였다. 3inch GaAs 기판상에 이온주입법에 의한 채널 형성, d.c. 스퍼터링법에 의한 WNx 증착, PECVD법에 의한 SiOx 증착, MERIE(Magnetic Enhanced Reactive Ion Etcing)에 의한 Side-wall 형성, LDD(Lightly Doped Drain)와 N+ 이온주입, 그리고 RTA(Rapid Thermal Annealing)를 사용하여 활성화 공정을 수행하였다. 채널은 40keV, 4312/cm2로, LDD는 50keV, 8e12/cm2로 이온주입하였고, 4000A의 SiOx를 증착한 후 2500A의 Side-wall을 형성하였다. 옴익 접촉은 AuGe/Ni/Au 합금을 이용하였고, 소자의 최종 Passivation은 SiNx 박막을 이용하였다. 제작된 소자의 전기적 특성은 hp4145B parameter analyzer를 이용한 전압-전류 측정을 통하여 평가하였다. Side-wall 형성은 0.3$\mu\textrm{m}$ 이상의 패턴크기에서 수직으로 잘 형성되었고, 본 연궁에서는 게이트 길이가 0.5$\mu\textrm{m}$인 MESFET을 제작하였다. d.c. 특성 측정 결과 Vds=2.0V에서 임계전압은 -0.78V, 트랜스컨덕턴스는 354mS/mm, 그리고 포화전류는 171mA/mm로 평가되었다. 특히 본 연구에서 개발된 트랜지스터의 게이트 전압 변화에 따른 균일한 트랜스 컨덕턴스의 특성은 RF 소자로 사용할 때 마이크로 웨이브의 왜곡특성을 없애주기 때문에 균일한 신호의 전달을 가능하게 한다. 0.5$\mu\textrm{m}$$\times$100$\mu\textrm{m}$ 게이트 MESFET을 이용한 S-parameter 측정과 Curve fitting 으로부터 차단주파수 fT는 40GHz 이상으로 평가되었고, 특히 균일한 트랜스컨덕턴스의 경향과 함께 차단주파수 역시 게이트 바이어스, 즉 소오스-드레스인 전류의 변화에 따라 균일한 값을 보였다. 본 연구에서 개발된 Side-wall 공정은 게이트 길이가 0.3$\mu\textrm{m}$까지 작은 경우에도 사용가능하며, WNx self-align gate MEESFET은 낮은 소오스저항, 균일한 임계전압 특성, 그리고 높고 균일한 트랜스 컨덕턴스 특성으로 HHP(Hend-Held Phone) 및 PCS(Personal communication System)와 같은 이동 통신용 단말기의 MMICs(Monolithic Microwave Integrates Circuits)의 제작에 활용될 것으로 기대된다.