• 한국의류학회지
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• 제47권1호
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• pp.152-170
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• 2023

Although ugliness had long been considered a negative form of beauty, it has become an independent aesthetic category. However, most previous art studies have focused on Rosenkranz's theory, making its application to contemporary fashion analysis challenging. Therefore, it is necessary to redefine ugliness. This study highlighted four modern ugliness categories from a modern perspective following the examination of the historical considerations of the ugliness concept, namely ugliness as a violation of taboo, ugliness as an unpleasant emotion, ugliness as a vulgar taste, and ugliness as an ethical flaw. From this perspective, SHOWstudios for fashion films were analyzed in the present study. The results of our analysis showed that ugliness in the film was related to socially sensitive subjects and stimulating images. Whereas costumes in the film were used as a tool to convey the subject and to enhance the visual effect of the image. In addition, clothing was identified as a core subject element of the video, particularly when considering ugliness as an ethical defect. This study provides further insights into contemporary fashion analysis, expanding the ugliness perspective, which had been limited to the specific perspectives of scholars.

• 복식
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• 제63권8호
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• pp.43-57
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• 2013

The purpose of this research is to systemize the fashion digital storytelling by analyzing the communication method and its elements, and extracting the characteristics and processes of digital storytelling. Based on the previous study on the characteristics and types of storytelling the following things have been researched: 1) the process of digital storytelling in the communication process, 2) the concept and the feature of the academia of digital storytelling 3) storytelling in the document research. On the groundwork of the document research, we were able to sort out the various types, and formed a system of the features in the fashion digital storytelling cases, mainly in the four collections (Milan, Paris, London, New York) from 2000's to recent years of 2010. The types of fashion digital storytelling are episode type, narrative type, and creative type. The characteristics of each of the types are as follows. Firstly, the episode type communicates through the digital media based on the information or fact of the fashion designer brand. Secondly, narrative type communicates with the consumers using previous literature or an existing idea of the original cultural form that is rearranged in digital story expressed by the digital media. Lastly, creative type makes the designer's and consumer's susceptibility and creativity communicate through the newly made story, which expresses the unique originality of the designer. It seems that the cases and studies of using the fashion digital storytelling will increase because of its short history and lack of the case study. Fashion designer brands will show their brand image using the digital storytelling because they are able to better express originality, creativity and imagination of the fashion designer, which were factors that could not be conveyed through fashion alone.

• 패션비즈니스
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• 제15권4호
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• pp.1-15
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• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

• 한국염색가공학회:학술대회논문집
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• 한국염색가공학회 2012년도 제46차 학술발표회
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• pp.120-120
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• 2012

최근 주야간 산업현장의 근로자 안전성을 위한 식인성이 우수한 Hi-vis. 염색이 work-wear에 많이 적용되고 있으며, Hi-vis. 염색에서의 형광색상은 차별화된 패션성을 원하는 소비자에게도 레져용, 아웃도어용, 캐쥬얼 등에 많이 사용되고 있다. 형광염료는 주로 안료나 PET용 분산염료로의 전개가 일반적이며, 예전에는 형광안료 코팅을 통한 필름이나 테이프 등이 많이 사용되었으나 최근에는 의류에 직접 염색공정을 적용하는 기법으로 형광분산염료가 많은 용도에 적용된다. 이러한 고가시 산업용 work-wear는 주간에는 선명한 색상을 띄며, 야간에는 빛나는 재귀 반사의 성능을 지니며 대표적인 형광컬러는 Yellow, Red-Orange, Red, Yellow-Orange, Pink, Green, Yellow-Green 등 색상이 있다. 고가시성 안전의류(High Visibility Warning Clothing) 기준의 색도 좌표 및 일광 견뢰도 등 성능을 만족해야 하며, 대표적인 규격은 유럽의 EN-471로 일광, 마찰, 세탁, 땀, 드라이클리닝, 염소 등 견뢰도에 대한 각각의 합격기준이 있으며, 색도 및 형광팩터 등의 기준에 맞는 염색처방이 필요하다.

• 한국염색가공학회지
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• 제35권4호
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• pp.221-230
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• 2023

Meta-aramid and polyamic acid were separated and the manufactured films were analyzed for their integration and logarithmic properties. The miscibility of meta-aramid and polyamic acid was analyzed by Fourier transform infrared spectroscopy and scanning electron microscopy. Using calorimetric analysis and differential scanning calorimetry, the storage of meta-aramid and polyamic acid, indicated on the right side of the column, was analyzed. It was confirmed that the initial thermal resistance occurs because the polyamic acid is accounted for in the meta-aramid, and the glass transition temperature and persistence phenomenon are explained.

• 한국염색가공학회지
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• 제33권2호
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• pp.72-78
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• 2021

The purpose of this study, the purpose of this study is to activate the antibacterial effect on the Chlorinated polyvinyl chloride film by using Octadecyldimethyl (3-triethoxy silylpropyl) ammonium chloride antibacterial agent with Chlorinated polyvinyl chloride polymer, which is inexpensive and has excellent properties such as heat resistance and chemical resistance. The Chlorinated polyvinyl chloride polymer was dissolved in a dimethylacetamide solvent, and film samples were prepared by varying the ratio of Octadecyldimethyl (3-triethoxy silylpropyl) ammonium chloride to study the antibacterial performance. A Scanning Electron Microscope-Energy Dispersive X-ray Spectrometer and X-ray photoelectron spectroscopy were employed to confirm the elements in the samples. According to the initial decomposition temperature of the Chlorinated polyvinyl chloride film and the Chlorinated polyvinyl chloride/Octadecyldimet hyl (3-triethoxy silylpropyl) ammonium chloride(10%) film using a Thermogravimetric analyzer(TA-DTA), it was confirmed that the initial decomposition temperature was lowered due to the influence of Octadecyldimethyl (3-triethoxy silylpropyl) ammonium chloride. In addition, in order to measure the mechanical properties, Universal testing machine was used and the result showed that a strength of Chlorinated polyvinyl chloride/Octadecyldimethyl (3-triethoxy silylpropyl) ammonium chloride(10%) was 36.8 MPa. The antimicrobial properties of the Chlorinated polyvinyl chloride/Octadecyldimethyl (3-triethoxy silylpropyl) ammonium chloride(10%) film showed 99.9% antimicrobial properties.