• 한국지역사회생활과학회지
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• 제28권3호
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• pp.365-375
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• 2017

The purpose of this study was to investigate the maximal elongation rate and area expansion ratio of human skin in various postures. Five males and five females (male: $23{\pm}2yr$ in age, $177.9{\pm}4.8cm$ in height, $76.7{\pm}8.8kg$ in body weight, $24.2{\pm}2.5$ in BMI, $16.2{\pm}3.4%$ in body fat; female: $22{\pm}1yr$, $163.2{\pm}3.6cm$, $51.4{\pm}2.7kg$, $19.3{\pm}1.6$, $27.4{\pm}6.7%BF$) participated in this study. Measurements were conducted using a pen and tape on the elbow, knee, wrist, shoulder, and neck. Subjects held postures so that each joint of the body regions was bent at its maximal level. The results were as follows: 1) The maximal elongation rate of skin showed a significant difference among the regions: $16.6{\pm}3.4%$ for the wrist, $22.4{\pm}5.5%$ for the neck (back), $37.6{\pm}11.3%$ for the shoulder, $42.6{\pm}10.0%$ for the knee, and $43.9{\pm}4.0%$ for the elbow (p<0.05). 2) The maximal expansion rate of the body surface area had the greatest values on the elbow ($93.7{\pm}6.4%$) and knee ($74.8{\pm}10.8%$). 3) No significant difference was found between males and females. In summary, maximal values of skin elongation and expansion rates in vivo were greater than in vitro values known from previous reports. These results can be applied to develop electronic fibers or textiles for wearable tight fit work clothing as well as fitness wear.

• 한국의류학회지
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• 제33권6호
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• pp.904-915
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• 2009

본 연구에서는 소비자들의 인구통계적 특징별로 패션선도력과 시장전문성 수준을 비교하고, 패션선도력과 시장전문성 수준에 따라 점포평가기준에 차이가 있는지를 알아보고자 하였다. 미국 전역의 소비자를 대상으로 우편설문조사를 실시하여 380부의 설문자료를 분석에 사용하였다. 결과에서 인구통계적 특성별로 패션선도력과 시장전문성 수준이 대체로 유사하게 나타났다. 여성 소비자들은 일반적으로 패션선도력과 시장전문성이 남성보다 더 강하며 교육수준이 낮을수록 시장전문성과 패션선도력이 높은 것으로 나타났다. 연령이 낮을수록 패션선도력은 더 강한 것으로 나타났으나 시장전문성에서는 연령별 차이가 발견되지 않았다. 패션선도력이 높고 시장전문성이 강할수록 더 많은 점포속성들을 더 중요한 평가기준으로 고려하는 것으로 확인되었다. 특히 시장전문성이 강한 소비자들은 그렇지 않은 소비자들에 비해 상품의 품질이 우수한지, 환불교환이 용이한지, 더 넓은 상품구색이 갖추어져 있는지를 더 중요하게 고려하였으며, 패션선도력이 강한 소비자들은 그렇지 않은 소비자들에 비해 환불용이성과 점포명성 등을 더 중요한 점포평가기준으로 고려하는 것으로 나타났다.

• 한국의류학회지
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• 제31권12호
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• pp.1653-1661
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• 2007

본 연구는 출토직물의 염료 성분 판정을 위한 장기적인 프로젝트의 일환으로서 천연염료 식물 중 우리나라는 물론 동서양 각지에서 과거에 염색식물로 널리 사용되었던 소목에 대하여 주 색소성분인 브라질린을 가스크로마토그라피 질량분석법(GC-MS)으로 검출할 수 있는 최적의 염료 추출 및 분석 조건을 확립하는데 그 목적을 두었다. 소목추출액에 대한 GC-MS 분석 결과 증류수보다는 메탄올이, 메탄올보다는 아세톤 추출이 브라질린 추출효과가 높았다. 추출기기 간에는 $30^{\circ}C$로 진행된 waterbath shaker보다 상온에서 진행된 shaking plate가 브라질린 추출이 높았으며 두 기계 모두 1시간보다는 12시간 추출이 월등히 높은 추출량을 보였다. 증류수를 사용해 pH $3{\sim}9$로 조절하여 브라질린의 추출효과를 조사한 결과 pH 5 조건에서 브라질린 검출량이 가장 많았다. GC-MS 분석 조건은 컬럼내 온도를 초기온도 $50^{\circ}C로 하고 온도 증가율을 $23^{\circ}C/min$로 하여 $210^{\circ}C$까지 끌어올리고 다시 온도증가율을 $30^{\circ}C/min$로 하여 최종적으로 $305^{\circ}C로 가열한 후 14분 동안 holding하여 전체 분리시간을 24.12분으로 한 방법이 가장 효과적이었으며 MSD 스캔범위는 $75{\sim}400m/z$이 적합하였다.

• 패션비즈니스
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• 제2권1호
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• pp.1-11
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• 1998

In this study fashion illustrations published in American Vogue from 1960 to 1989 were investigated. Among the large number of illustrations published in American Vogue in this period a considerable number of illustrations was chosen: from 1960 to 1969 143 editorial illustrations and 333 advertisement illustrations; from 1970 to 1979 34 editorial illustrations and 168 advertisement illustrations; from 1980 to 1989 123 editorial illustrations and 81 advertisement illustrations. In studying those illustrations the main point was put in finding characteristics and the changing trend of fashion Illustrations. In the sixties editorial fashion illustrations were published mainly during early sixties. The Illustrations of Rene Bouch, Evelyn Marcil, Dagmar and Eunice Moore Sloane took the space of editorials. Among those Illustrators Bouch published most frequently. The companies such as Galey & Lord, Lord & Taylor, Bergdorf Goodman, Bonwit Teller etc. used fashion illustrations for the advertisement. The name Kenneth Paul Block, Babara Pearlman and Dorothy Hood can be found very frequently on the illustrations for those companies. Antonio Lopez too published in 1963 some advertisement illustrations. In the seventies the total number of editorial fashion illustrations diminished drastically compared to the number in the sixties. Antonio published in 1973 and 74 fifteen illustrations, Joe Eula published from 1976 to 79 thirteen illustrations, and beside them Mats Gustavson published in 1978 six illustrations. The number of advertisement illustrations decreased a little, but many companies used fashion illustrations for the advertisement. The illustrator who worked most actively were Block and Fred Greenhill. In the eighties editorial illustrations experienced a "Renaissance". New high-level illustrators appeared and new fashion illustration magazines were found. Antonio played a central role among illustrators published for editorials in Vogue. In addition to him 15 other illustrators including Mats and Eula with various styles worked for editorials. In contrast to the flourishment of editorial illustrations the number of advertisement illustrations decreased compared to seventies as a result of the domination of fashion photography in this area. Today only few fashion illustrations can be found in fashion magazines. The magazines are dominated by fashion photographs. However fashion illustrations will not totally perish from fashion magazines, because it still has some valuable functions in fashion advertisement. Those functions cannot be fulfilled by photography. Therefore fashion illustration will survive in fashion magazine but playa minor role compared to photography.

• 한국의류학회지
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• 제8권2호
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• pp.41-46
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• 1984

Ancient Korean and China litteratures show us that it has been long since people from humbler classes to king most commonly used bast fabrics as materials of their cloth. According to the record of these ancient litteratures, highly developed fine bast fabrics and those woven in figures were used as tribute between ancient Korea and China. In this study we will make a brief research of the history of bast fabric culture from ancient times to the Korea Dynasty in which the bast fabric culture flourished and reached the summit of prosperity. After having compared the bast fabric culture of ancient Korea with that of ancient China in which the bast fabric culture developed very much and bast fabrics were used more commonly as materials of cloth than any other fabrics, we could come to conclusions as follows. 1. Names were given to bast fabrics according to the kinds of bast fibers, the degree of fineness and the containing of figures: Ma-po, Jeo, Jeo-po, Bag-jeo-po, Moon-jeo-po, Po and Se-po. The number of 'Seung' which indicated the degree of fineness was attached to the top of each name to show how fine they are. 2. While the bast fabric of 30 Seung is known to be the most fine one of the ancient China, in ancient Korea fine bast fabric of higher than 30 Seung was woven. This fact proves that the technique of weaving bast fabrics of the ancient Korea was more highly developed than that of ancient China. 3. In ancient China the highest Seung number of the ordinary clothes which were put on after putting off livery of grief was regulated to be 15. But in ancient Korea, Sil-la, it was regulated to be 28. Judging from this fact, we may say that the consumption level of the ancient Korean people in cloth was higher than that of the ancient China people. 4. The reason why in ancient Korea the technique of weaving bast fabrics was so highly developed is suppoed to be that the ancient Korean people preferred elegant, refine and simple taste in cloth. 5. The excellent bast fabric culture of the ancient Korea flowed into ancient Japan. It proves that Korea played an important part in the history of textile development of the world.

• 한국의류학회지
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• 제26권1호
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• pp.133-143
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• 2002

The textile industry is petting increased effort to manufacture the value-added products that gives the differentiated characters at every level of fiber and fabric production. The color is an important element to be used strategically in order to push up the value-added design. The colors of apparel products have a close relationship with the skin colors of consumers and their preference colors. This study was carried out to cluster the skin colors of the Korean women into several similar skin colors and to analyze their preference colors by the classified groups. We measured the skin colors of 354 Korean women. With color spectrometer, JX-777, we measured 4 points of the body; cheek with removing cosmetics off, forehead, rear neck and arm on the interior part near elbow. All subjects had been shown with 40 color chips and answered the preference colors and preference colors of apparel. Data were analysed to classify skin colors using K-means Cluster Analysis and Duncan test, Frequency and Chi square test on the preference colors about the clustered 3 groups. In doing so, we used in SPSS Win 10 statistical package. Findings were as fellows: 1) The skin colors of the Korean women were clustered into YR, R, and Y skin colors. The majority of the subjects, 324 observations had YR skin colors and the subjects were classified into 3 kinds of skin color groups who had YR skin colors. 2) The average skin colors of total 324 subjects was 5.23YR 6.49/4.09 in Munsell Color System(MCS), 66.56 in L value, 10.53 in a value, and 20.67 in b value. 3) The average skin color of Type 1 was 7.98YR 6.24/4.14 in MCS, 64.10 in L value, 15.05 in a value, and 24.0 in b value. For Type 2 was 7.30 YR 6.56/3.28 in MCS, 67.24 in L value, 6.89 in a value, and 18.4 in b value, and Type 3 was 7.01 YR 7.20/4.38 in MCS, 73.53 in L value, L 16.04 in a value, and 24.87 in b value. 4) The average face color of total 324 subjects was 7.31YR 6.65/3.56 in MCS, 68.13 in L value, 9.53 in a value, and 20.18 in b value. 5) The average face color of Type 1 was 4.19 YR 6.92/5.05 in MCS, 70.78 in L value, 13.2 in a value, and 25.32 in b value. For Type 2 was 5.24YR 6.33/3.79 in MCS, 64.94 in L value, 9.84 in a value, and 19.08 in b value. Type 3 was 5.4YR 6.85/4.68 in MCS, 70.1 in L value, 11.73 in a value, and 23.92 in b value. 6) The difference of mean values between the clustered 3 skin color groups showed significantly different except the a value of neck and H value of cheeks and H value of foreheads. 7) All 3 groups showed that the most preference colors and the most preference colors of apparel was 5R 4/14. and their preference colors were much more than the preference colors of apparel.

• 한국의류학회지
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• 제26권2호
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• pp.303-314
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• 2002

The colors of apparel have become an important element to be used strategically in order to give differentiated character at the level of fiber and fabric production. The colors of apparel have a close relationship with the skin colors of consumers and their preference colors. This study was carried out to classify the skin colors of Korean elderly women into several similar skin colors and to analyse their preference colors. Sample size was 471 Korean elderly women. With color spectrometer, JX-777, we measured 4 points of the body; cheek with removing cosmetics off, forehead, rear neck and arm on the interior part near elbow. All subjects had been shown with 40 color chips and answered the preference colors of apparel and the preference colors. Data weirs analysed to classify skin colors using K-means Cluster Analysis and Duncan test. Independent variables for Cluster Analysis were 12 variables out of L value, a value and b value of 4 points. In doing so, we used SPSS WIN 10 statistical package. Findings were as follows: 1) The skin colors of the Korean elderly women were composed of skin colors of YR, R, and Y. 2) 355 subjects were classified into 4 kinds of skin color groups. 3) The average face color of type 1 was 6.7YR 5.1/4.3 and 56 observations out of 355 subjects were composed of Type 1 and of Type 2 was 6.1YR 6.1/4.5 and 166 observations out of 355 and of 3 Type 6. YR 4.8/4.2 and 75 observations out of 355 and of Type was 6.17 YR 5.7/4.7 and 58 observations out of 355. 4) The average skin color of Type 1 was 7.0YR 5.9/4.4 and of Type 2 was 7.2YR 6.3/4.2 and of Type 3 was 7.0YR 6.2/4.2 and of Type 4 was 7.6YR 5.4/4.2 respectively. 5) The mean values of 12 variables between the 4 classified face color and skin color groups showed significantly different except H value of skin color. 6) All 4 groups showed that the most preference color of apparel and the most preference color were 2.5R 5/14 respectively.

• 감성과학
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• 제18권2호
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• pp.19-30
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• 2015

본 연구는 라벤더 향과 레몬 향을 포함하는 방향성 의류소재에 힐링효과가 있는지 알아보고자 신체 반응인 자율신경계 반응을 평가하였다. 이를 위해 라벤더와 레몬향의 마이크로캡슐과 수성 아크릴 바인더를 사용하여 면직물에 코팅처리 하여 각각 2%, 5%의 농도로 처리 된 라벤더와 레몬향의 방향성 의류소재 총 4종을 만들었다. 심전도, 피부전도수준, 혈류량의 실험 참여자는 10명 이었으며, 안정 상태에서 30초, 스트레스 상태 (working memory task) 30초, 향 자극 상태(방향성 섬유를 비벼 향을 나게 한 후) 30초를 측정하였다. 그리고 주관적 감성 평가도 함께 실시하였다. 데이터를 분석하기 위해 표준화를 해주었으며, 표준화 값에 대하여 안정 상태와 자극 상태의 생리신호 차이와, 스트레스 상태와 자극 상태의 생리신호 차이를 알아보기 위해 비모수검정 Friedman 검증을 통해 그 경향을 분석 하였다. 자율신경 발란스 지수(LF/HF)는 스트레스 유발 후 향 자극 상태와 유의한 차이가 있어 사후검증 하였다. 그 결과 레몬 5%의 향 자극은 라벤더 2%, 라벤더 5%, 레몬 2%의 향 자극과 유의한 차이가 있었다. 스트레스 유발 후 레몬 5%의 향 자극은 스트레스를 증가 시켰으나 라벤더 2%, 라벤더 5%, 레몬 2%의 향 자극은 심리적 안정을 유발하여 스트레스를 감소시켰으며 본 논문에서 힐링효과를 나타냈다.

• 패션비즈니스
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• 제6권2호
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• 패션비즈니스
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• 제11권6호
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• pp.87-100
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• 2007

This study aims at analyzing the characteristics of deconestructionism expressed in Issey Myake's fashion who is one of the most creative designers in the world. Method and contents of this study are as follows. Through the review of literatures, three major categories such as interminacy of meaning, decentring, and intertextuality and eight subcategories have been identified as major features of deconestructionism. These subcategories for content analysis were selected to examine the characteristics of deconstructionism expressed in Issey Myake's design in depth. Interminacy of meaning was divided into unstructured and unconstructed factors while decentring into qualities of cross-gender, subculture, anti-fashion, and post-humanism. Lastly, intertextuality was classified into factors of disordered mixing mode and mixed styles. Materials for analysis were chosen from total 349 designs on the website,www.firstview.com, which carries Issey Miyake's collection from 2002 S/S through 2006 F/W. 2 fashion major analysts including the researcher participated in 1st analysis and two another fashion major analysts participated in 2nd analysis. The final level of consistency between analysts was over 97% for all categories. The data analysis quantitatively evaluates the frequency of each category and qualitatively evaluates the characteristics of design. The result is as follows. First, the avant-garde facets of inter-textuality are most prominent. In particular, Miyake has introduced the various novelly textiles to fashion and employed the mixtured styles, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has used various fabrics in order to inflict shock and contrast but still create subtle harmony, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of Miyake's fashion design. Miyake has employed unconstructed expression techniques, which has projected unusual images free from basic forms of designs and also has used the unstructured styles which dismantle harmony and balance-the common rule of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. He has demonstrated a unique perspective on cloth construction and presented a love for artistic collaboration in the development of his collections A distinct manufactured aesthetic is exaggerated, even hyperbolic. Thirdly, the aspects of decentralization were also shown in Miyake's design, however, it has been visibly decreased after 2002 S/S.