• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.111-130
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• 2002

This study performed a structural questionnaire survey and non-structural interview of the ladies apparel manufacturers in Daegu on the qualification for the employees, skills required for job performance, job training, automatic manufacturing systems, and the use of computer. The results are as follows. 1. Almost all of the apparel manufacturing systems were Pair System, except one Line System in one company. In terms of outsourcing, most of the manufacturers answered “yes,” and in 1998 the outsourcing process was sewing, but in the year 2002, outsourcing has been increased :12 manufacturers(57.1%) outsourcing most of the processes except patterning, 3(14.3%) outsourcing the finish of sewing. 2. The workforce of 1998 and that of 2002 shows a significant difference(P＜. 01) between office work and management. The number of office workers has decreased from 15 down to 5.3 people. On the other hand, that of the management has slightly increased from 5.3 to 9.2 people. The number of the manual workers has decreased from 32.2 to 28.7 people. And the number of tailoring and patterning workers has slightly decreased, but the number has increased in sewing from 3.7 to 7.0 people. 3. The wage of an employee shows a significant difference between a sewing assistant(P＜. 01) and a production manager(P＜. 05), and the wage of a sewing assistant, in particular, has slightly raised from ￦905,000 to ￦1,054,000. 4. The qualifications required of employees are “cooperative human relations”(30.8％), “diligence,” and “ability for job analysis”(26.9％), and “positive thinking” (15.4％) in 1998, and “ability for job analysis”(38.5％), “cooperative human relations”(34.6％), and “positive thinking” (15.4％) in 2002. The areas for job openings are significantly different(P＜. 01) depending on the year. Job openings in the design section has increased from 1(3.8％) to 16 manufacturers (61.5％), and decreased in tailoring section from 22(84.6％) to 2 manufacturers(7.7％). Job openings in the sewing section have increased form 2(7.7％) to 6 manufacturers (23.1％). In terms of sex of the employees, there is a significant difference(P＜. 001). 19 companies(73.1％) wanted “male” in 1998, but 8 companies(30.8％) answered that they want “female” and 17 companies(65.4％) answered that “it does not matter.” About the educational background, there was a significant difference between the years. The number of the companies that want junior college graduates with an associate degree has increased(15 companies(57.7％). There was a significant difference(P＜. 05) in major of the employee. The number of the companies that want fashion majors has increased from 5(19.2％) to 20(76.9％). 5. In terms of job skills required, there was no significant difference. In 1998, “production skills” (46.2％) and “ability for job analysis” (26.9％) were required, and in 2002, “ability for job analysis” (42.3％) and “emotional skills” (26.9％). 6. In regard to training for job skills, “fashion professional training” has slightly decreased from 65.4％ in 1998 to 46.2％ in 2002, however, “training for job analysis” has slightly increased from 30.8％ in 1998 to 46.2％ in 2002, which indicates the fact that “fashion professional training” and “ability for job analysis” have been emphasized. 7. The number of the manufacturers purchased apparel CAD has increased from 1(3.8％) to 3(11.5％), and the number of the manufacturers that have no plan for purchase has increased from 16(61.5％) in 1998 to 15(57.7％), still taking up a big proportion. 8. About the use of computers in manufacturing, there is a significant difference(P＜. 05). The number of the manufacturers using computer has increased from 5(19.2％) to 15(57.7％) and that of the manufacturers which do not use computers has decreased from 17(57.7％) to 8(30.8％). 9. In the interviews with the owners of the manufacturers, they pointed that schools should give more weight on practical training courses, the invitation of experts in the specific field, complex production systems, training courses for sewing, field trip courses, and furthering specialty education, personality and vocational education.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.13-24
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• 2003

The purpose of this study is to design Jugori model compatible with the body types of the middle-aged women especially from 40 to 59 years old. The result is as follows: We decided five items as the necessary items for designing jugori model : the bust girth (the breast & shoulder width), the B.P length, the neck width, the armhole circumference, and Hwa-jang. The breast & shoulder width are the size that comes out if the bust is divided by the breast & shoulder width on the basis of the side line, and Hwa-jang is a length measured with arms stretched out to 0° direction. With each person's physical characteristics considered, the application of the size of each body types and body parts is as follows: 1. The breast & shoulder width (1/4 portion) : We decided B/4+2cm as a standard size and, we adjusted the extra room on the basis of the discrepancy between the breast width and the shoulder width to make it fit well to the each body type. For the breast width (1/2 portion), we bisected the difference between the breast width and the shoulder width of the bust, and moved Gut-sup to the center of the Sup and Sup-sun for An-sup. According to the body type, the movement of the Sup for the people with big breasts gets bigger because there should be a big difference between the breast width and the shoulder width for them, and for the people with small breasts the movement will be relatively smaller. For the shoulder width (1/2 portion), we curved the back center line after we shortened as much as the difference between the amount of the shoulder width/2+1cm and of B/4+2cm. The movement of back center line will be bigger for a person with leaned-backward body type. 2. The front & back length: We made the front length to B.P length+2.5cm to have Jugori cover the breast point fully around the bust line, which is a vogue nowadays. For an upright body type, we decided the back length as (AH/2.2)+5cm. And for a bent-forward and a leaned-backward body type, we adjusted the calculation formulae differently taking the physical characteristics into account. We decided the back length (A) as (A.H/2.2)+5cm, and the front length (B) as the back length+5cm. So, (A+B) is the sum of the front length and the back length. Going back to the original formula, the front length is B.P+2.5cm. So, we can decide the back length if we subtract B.P+2.5cm from the sum of the front length and the back length. To make well-fit Jugoris, the front & back length are areas that we should pay attention to if we take each person's physical characteristics into consideration. 3. Go-dae (1/2 portion) : We decided Go-dae as the neck width/2+0.5cm. For an upright body type, because the base line which went down vertically from the tragion was straight, we generally decided Go-dae Dalim line as 1.0cm. But we decided Go-dae Dalim line down to 1.5cm for bent-forward type and up to 0.2cm for leaned-backward type because the upper half of the body of them was bent forward or leaned backward from the base line. 4. The armhole : We decided the armhole circumference as A.H/2+2cm with the whole extra room of 4cm. 5. The side line length : We can calculate the side line length to (the back length-the armhole)/2, and, in terms of the trend, 2.5cm will be appropriate.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.113-127
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• 2005

From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.365-374
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• 2021

Recently, the high growth rate and advantages of the crowdfunding market have also led to increased participation of brands and companies, and this also applies to fashion business. Risk has been noted to be a key factor in consumer behavior in crowdfunding. With the high-risk context of crowdfunding where supporters inevitably bear to pay full amount of price before receiving the actual products. Factors enhancing or inhibiting perceived risk of crowdfunding need to be explored. The past literature on perceived risk and consumer attitudes in crowdfunding has expanded, but it has rarely covered the context of experience goods such as fashion products. In addition, the platform characteristics in relation to perceived risk should be addressed. The current study attempts to address the effect of the perceived amount of information offered in a fashion crowdfunding project on perceived risk and the intention to participate in the project. For the experiment of this study, a fictitious crowdfunding page for fashion products was set as the stimuli. A total of 240 Korean participants were recruited and their responses were statistically analyzed using SPSS 24.0 software. In the results, the greater the amount of detailed information about the fashion crowdfunding project, the higher the intention to participate the project. The greater the amount of information provided, the lower the perceived risk of consumers. Moreover, the lowered perceived risk affected the intention of participate. Perceived risk has a partial mediation in the relationship between the amount of information and intention to participate. Theoretical and managerial implications are discussed.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.405-413
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• 2021

In this study, based on the theory of use and satisfaction, the motives of consumers who use Instagram accounts for luxury fashion brands were classified and the effect of the flow state experienced according to the motives on the purchase intention and the enjoyment was empirically studied. As a result of the analysis, the conclusions obtained through this study can be summarized as follows. First, it was found that the motive for using Instagram, a luxury fashion brand, had a significant positive effect on flow, followed by social interaction motive, informational motive, and enjoyment motive. Among the motivations for use, it was confirmed that the motivation for social interaction had the greatest influence on flow. Second, when using the luxury fashion brand Instagram account, the state of consumer flow induces positive emotions such as pleasure, which has a positive effect on purchase intention. Third, age, which is a characteristic of luxury fashion brand Instagram account users, had a significant positive moderating effect on the relationship between informational motives and flow, and had a significant negative effect with playful motives. Through the results of this study, we contributed to the flow of previous related studies by empirically showing the dynamics of consumer psychology related to the use of luxury Instagram accounts.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.397-404
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• 2021

The web-based crowdfunding platform provides small-cap companies the opportunity to reduce financial risks and to reliably produce new products through pre-orders. Meanwhile, crowdfunding projects are also helping companies as a channel to test new products before mass production. Despite these advantages, from the point of view of businesses and consumers, it is true that web-based crowdfunding platforms have limitations in the retail environment. For example, the limited social elements of a web-based platform are somewhat in conflict with the basic characteristics of crowdfunding projects - which inevitably demand high social influences for the success. As such, understanding the mechanisms of social factors of crowdfunding platforms from the consumers' perspective is important. Therefore, in this study, we empirically tested the effect of social factors of crowdfunding platform on consumer participation and evaluation. Based on the Social Influence Theory and Social Presence Theory, we developed a conceptual framework where the social group size and social presence of other backers were the independent variables and the purchaser's intention to participate as the dependent variable. In the results, the size of the social group size and the perceived social presence have a significant positive effect on purchaser's participation intent. In addition, the social presence had a greater influence on the purchaser's intention to participate than the size of the sponsor's social group. We believe that our findings contribute to the extant literature by empirically demonstrating the valid effect of social factors of crowdfunding platforms on consumer evaluations.

• Cartoon and Animation Studies
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• s.22
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• pp.47-63
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• 2011

Recently, contemporary cultural contents have been shown its diversity changes followed by the birth of new media platforms with consumers' new needs in the global market. Also, developments of Internet and computer system networks are the main contributors of making this changes happened rapidly. This study aims to know that how to usefully use those new media platforms through the great example of stop-motion animation music video by analyzing its production and marketing process. The music video production had been focused to be completed with high quality by adjusting the production process economically in spite of the relatively short period(less than one month)from its crank-up to the deadline. Because the production was planned that main characters lead the whole story, the creative team had been tried to reduce the production hours by commonly use the same mold when they make original clay models by collecting the similarities of characters' appearances. By using CG technic, could overcome the visual monotonous from the similarities which inferred above. Also, the repeated rhythm in the music video, the similar scenes of backgrounds were commonly used by copy of the original scene. At the point of directing, the creative team considered both economical and art aspects for the quality work. In details, they divided the scenes into foreground and background, and removed unnecessary parts to save the production hours and budget but make depth of fields in the scenes. Except the viral marketing purposes, was searching for the methods to compensate the production cost. For this, the characters in the music video dressed the same T-shirts which are world-cup logo on, and those were designed for the sale after released the music video. Even the result of the sales was not enough to satisfied, it was estimated a great attempt to the domestic animation industry.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.511-522
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• 2001

Various art trends of the 20th century that contributed to the creation and development of abstract art had showed the transition from the convention of mere representation of the object to the formative sensitivity emphasizing self-expression. Noticing that such trends had influenced the fashion industry to move toward a free and individualized style, this study attempts to express the formative way from the existing art to wear, especially, based on early 20th century paintings, 5 casual wears were made which applied korean materials and silhouettes that are functional, sample and show traditional korea beauty. The purpose of this study is to search for a solution to expand the world market by producing dresses utilizing our own tradition that can be distinguished in the global market and that derive inspiration from the formative of the sensitivity of the paintings during the first half of the 20th century. It also aims to let national economy as a high-added industry. The result of this study are as follows: First, the expression method and element of various styles of art such as Fauvism, Expressionism and Cubism, during the period of transition to abstract art, clearly presented the direction toward the artistic liberation and made possible a new formative artistic expression of dress in the early years of the 20th century. Their ideas inspired the dress designers of the time with a reformative and creative sense of fashion and have greatly contributed to the development of a new era of uniqueness and individuality. Second, the color and the simplicity of form of the early 20th century paintings are suitable fro utilizing a motive of functional dresses and express unique and concise modern beauty. Third, it was confirmed that utilizing our tradition in contemporary dress can be a significant method of creation in which the uniqueness and creativity of Korean dress can be expressed, distinguishing it on the global scene, as well as inspire the originality and pride of our culture. Fourth, a possibility has been discovered. It is the functionality and uniqueness of aesthetic expression technique of the contemporary arts that can contribute to the fashion of tomorrow, by searching a modern fashion which was affected by the past and also by taking a look at the trend of modern fashion as the same field as casula wear.

• Journal of Digital Convergence
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• v.12 no.6
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• pp.637-643
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• 2014

The purpose of this study was twofold: 1) to analyze the impact factor of clothing and textile-related journals by utilizing the average number of cross-citation that evaluates the relative importance of an academic journal and 2) to provide a list of journals with higher impact factor by analyzing closeness and betweenness among individual journals through graph networks. To fulfill this, a total of 10 clothing and textile-related journals, which are accredited by National Research Foundation of Korea, were analyzed. For analysis of the average number of cross-citation, the targeted research papers were limited to those published between 2008 and 2011 and they were derived from the Korea Citation Index. The software used for network analysis was R ver. 2.15. The results of the study were as follow: First, 'The Korean Society of Knit Design' was indicated as the highest rate of self-citation, followed by 'Journal of the Korean Fashion & Costume Design Association.' Secondly, the average impact power of clothing & textile-related journals was relatively lower (0.681) compared to that (1.00) of 23 journals under the human ecology discipline. 'Korean Journal of Human Ecology' was found to have impact factor of 1.24, which was higher than the average impact factor of human ecology-related journals. Lastly, together with 'Journal of the Korean Society of Clothing and Textiles.'