• 한국의상디자인학회지
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• 제10권1호
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• pp.145-159
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• 2008

This study has examined the shift in fashion styles in Korea by analyzing trends in fashion environment and fashion image by seasons in Korea to understand the domestic fashion flow from 2000 to 2006. Since 2000, with the well-being trend, polarization of consumption, preference in luxury orientation, and digital revolution, consumers became individualized and detail oriented. They also became smart consumers equipped with information and knowledge in making choice and purchasing products suiting their taste. To satisfy the consumer trend, fashion market also saw changes such as expansion of advanced distribution, totalization of brands, growing of on-line shopping mall, expansion of outdoor-wear market, and formation of masstage(mass+prestage) market. Fashion images in domestic women's wear since 2000 are analyzed as classic, elegant, minimalism, romantic, bohemian & vintage, ethnic, glam, girlish, kidult, sportive, femiculine, military, and lingerie image. Classic, romantic, and bohemian & vintage are the images that were popular throughout 2000 to 2006. Fashion images of domestic women's wear showed changes in three periods: Sportive image was popular in FW 2002; military image in SS 2003 to SS 2005; and femiculine, glam, and minimalism images in FW 2005 to FW 2006. Through information and detail-oriented emotion, the wide-ranging acceptance of global trends, the consumer tendency towards purchasing products quickly and conveniently, the speedy supply of trendy products both on-line and in-store, and the evolution of the fashion market towards providing one-stop shopping and a cultural space, different fashion images have all emerged at the same time in Korea. It looks like this phenomenon is set to continue for a while.

• 한국융합학회논문지
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• 제9권7호
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• pp.163-175
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• 2018

4차 산업혁명시대의 주요한 변화 동인인 혁신적 테크놀러지와 인공지능의 발전은 상대적으로 인간의 감성적 영역에 대한 관심을 증대시키고 있다. 그리고 이에 대한 교육적 대안으로서 디자인씽킹 프로세스를 활용한 메이커교육에 주목하고 있다. 이는 만들기 활동 과정과 결과로서 경험하게 되는 여러 감성적 측면(타인/사용자의 이해와 공감, 협력활동을 통한 소통, 개방, 공유의 정신, 논리적 사고를 넘어선 직관적 사고의 수용)을 감성지능의 함양이란 가능성과 연결시킬 수 있기 때문이다. 이에 본 연구에서는 대학교 학부생 37명을 대상으로 한 교양과목에서 '디자인씽킹 프로세스 기반의 메이커교육' 프로그램을 개발 및 적용한 뒤 그 결과로서 학생들의 감성지능에 어떤 변화가 이루어지는지 감성지능 검사지를 이용한 양적분석과 면담, 성찰일지와 같은 질적자료분석을 통해 알아보았다. 그 결과로 디자인씽킹기반의 메이커교육 프로그램은 감성지능의 대부분 영역에서 긍정적 영향이 있음을 확인 할 수 있었다.

• 한국의류학회지
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• 제40권2호
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• pp.315-329
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• 2016

The $21^{st}$ century is the age when the revolution of digital technology enables two-way communication and when emotional values are emphasized. Thus, it exerts influence on the fashion industry and fashion communication. Along with fashion shows, advertising and displays, many fashion brands have increased the use of fashion films. For that reason, this study examines the characteristics of fashion films made by fashion brands, based on the frame work of persuasion communication. For the research, literature reviews and internet website research were done and films of Chanel, Prada, Kenzo and Alexander Wang were analyzed. The definition and types of fashion films were redefined as terminology varied throughout previous studies prior to analyzing each case. As a result, a fashion film would be redefined as 'a digital image which a fashion brand publishes to consumers for the promotion of brand comprehension'. Also, five fashion film types, 'short film', 'campaign film', 'animation film', 'brand film' and 'show film' were redefined. The analysis provided three communication characteristics: reliability, engagement and intuition. First, reliability is attained when a fashion brand (sender) delivers brand message to consumers (receiver) consistently and unitedly. Second, engagement is attained when the type of fashion film (channel) delivers creative image features such as format, music, video technique to attract consumers' interest. Lastly, intuition is attained when a fashion brand (sender) delivers a message akin to brand identity and deepens consumers' understanding. In addition, this study tried to identify the unique usage tendency of brands that could serve as practice guidelines for other fashion brands.

• 복식
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• 제62권6호
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• pp.112-126
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• 2012

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

• 대한기계학회논문집A
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• 제36권5호
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• pp.545-553
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• 2012

본 논문은 옵셋인쇄용 잉크를 자동적으로 교반할 수 있는 시스템의 개발과정을 소개하고 있다. 교반 공정은 페인트, 잉크 등 색을 다루는 많은 산업 분야에서 필요하고, 특히 소량의 고점성 잉크를 섞어서 별색을 제조하기 위한 자동화된 시스템은 해당 산업체에서 크게 필요로 하고 있다. 본 연구에선 공전과 자전에 의한 회전과 벨트 전동 방식으로 잉크를 교반할 수 있는 시스템의 설계, 제작, 실험이 수행 되었다. 회전 방향, 속도, 교반용기의 각도 및 잉크 양 등 다양한 조건에서 실험을 수행함으로써 교반시스템의 성능을 검증하였다. 또한 실험을 통해 잉크 교반에 적합한 조건을 찾음으로써 옵셋 인쇄업체에서 별색 제조용으로 사용이 가능한 방법을 제시하였다.

• 패션비즈니스
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• 제22권2호
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• pp.1-13
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• 2018

3D printing technology, which is expected to play a leading role within the Fourth Industrial Revolution, is becoming distinguished not only in the space, automotive, medical and engineering industries, but also in the area of design. The fashion and textile structures created by 3D printing technology were classified into three types - basic structure, unified structure, and a new physical structure. When traditional weaving, knitting, and stitching was reinterpreted through 3D printing, there were apparent limitations in reproducing the characteristics of fabric structures due to differences in the materials and structures of traditional textiles. New physical structures are being developed to break away from merely reproducing traditional textile structures, and to bring out the characteristics of 3D printing technology. As examples of new physical structures, there are the kinematics structure which utilizes the hinge method, mesostructure cellular material, and the N12 disk structure. Such techniques potentially open a new paradigm of fashion and textile structures. Some innovative aspects of 3D printing technology may result in changes in the methods of collaboration, manufacturing, and distribution. Designers are receiving help from specialists of various backgrounds to merge 3D printing technology to create original works. Also, 3D printing not only makes personalized custom designs available, but shortens the distribution channels, foretelling a change within the fashion and textile industry.

• Communications for Statistical Applications and Methods
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• 제24권6호
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• pp.561-581
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• 2017

Bayesian statistics can play a key role in the design and analysis of clinical trials and this has been demonstrated for medical device trials. By 1995 Bayesian statistics had been well developed and the revolution in computing powers and Markov chain Monte Carlo development made calculation of posterior distributions within computational reach. The Food and Drug Administration (FDA) initiative of Bayesian statistics in medical device clinical trials, which began almost 20 years ago, is reviewed in detail along with some of the key decisions that were made along the way. Both Bayesian hierarchical modeling using data from previous studies and Bayesian adaptive designs, usually with a non-informative prior, are discussed. The leveraging of prior study data has been accomplished through Bayesian hierarchical modeling. An enormous advantage of Bayesian adaptive designs is achieved when it is accompanied by modeling of the primary endpoint to produce the predictive posterior distribution. Simulations are crucial to providing the operating characteristics of the Bayesian design, especially for a complex adaptive design. The 2010 FDA Bayesian guidance for medical device trials addressed both approaches as well as exchangeability, Type I error, and sample size. Treatment response adaptive randomization using the famous extracorporeal membrane oxygenation example is discussed. An interesting real example of a Bayesian analysis using a failed trial with an interesting subgroup as prior information is presented. The implications of the likelihood principle are considered. A recent exciting area using Bayesian hierarchical modeling has been the pediatric extrapolation using adult data in clinical trials. Historical control information from previous trials is an underused area that lends itself easily to Bayesian methods. The future including recent trends, decision theoretic trials, Bayesian benefit-risk, virtual patients, and the appalling lack of penetration of Bayesian clinical trials in the medical literature are discussed.

• 복식문화연구
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• 제23권2호
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• pp.254-269
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• 2015

The digital technology that has brought about the information revolution acts as the causes of multi-faceted socio-cultural phenomena. The spread of the digital environment and the popularity of the digital devices accelerate the phenomenon or the fusion of culture and technology, and such a phenomenon is no exception in the fashion design. Namely, the combination of fashion design and digital-based technology draws more and more attention; Not only the technology is simply applied to the fashion design, but also it is used as an emotional tool to enhance consumers' satisfaction, while some designs and marketing cases stimulating consumers' emotion are highlighted importantly. This study was aimed at surveying and analyzing the contemporary fashion using the digital technology and thereupon, assessing the characteristics of the emotional representations of technology as well as their aesthetic values. To this end, the theory of 'science of emotion and sensibility' was applied to divide the characteristics of emotional technological expressions in the contemporary fashion into immateriality, non-boundary, multi-media and interaction, while the aesthetic values of the emotional technology immanent in the contemporary fashion were categorized into communication & participation, conceptual configuration, physical expansion and variable movement. This study analyzed uses of technology for human emotion and sensibility shown in not only collections but also communication media and exhibition spaces and thereby, suggested the direction for our fashion industry to fulfill consumers' changing needs and advance further.

• 한국실내디자인학회논문집
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• 제14권3호
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• pp.20-27
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• 2005

The built-in kitchen that is seen in every household is one of the achievements of the modernism architecture in early 20th century. Developed on the basis of two axis, one of which is the high industrialization and the other the sceptical assessment on the traditional value-system, the 20th century was launched in the form of the twofold entanglement, through the unfolding of which the cultural code of the modernism could be operated. The Quantification of the psychic that was attempted by H. v. Helmholtz and E. Mach in the pursuit of the reunification of sensation to the normal science was the first thread of that, while the second the break-down of the authoritative ideology and the emancipation of woman labour, which were initiated by the leftist movements. In this situation Margarete Schutte-Lihotzky was the woman architect who has tried to overcome the patriarchism in the household through architectural work by dwelling on that the emancipation of the housewives from the inefficient household labour is directly connected with the accomplishment of human freedom. She applied the modernist functionalism to the designing the kitchen for that purpose and outlined the effective range and operational realm of the rationalization. After all this the future preoccupying endeavor became the decisive moment that gave birth to a aesthetically and functionally good deliberated design of the kitchen in the present. This study is purposed to actualize the architectural ideas of Lihotzky into the present context through the consideration on the Frankfurt Kitchen of her and to grope for the relationship between architecture and feminism on the common horizon of the functionalist architecture and the women's liberation.

• 패션비즈니스
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• 제17권2호
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• pp.17-32
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• 2013

Throughout history, tennis-wear designers have attempted reforms to the designs, which were swayed a lot by game rules, and more efforts than ever are put forth recently. The efforts to introduce fashion designers into tennis brands and to break down the barriers between sports brands and common fashions have contributed to the advancement of tennis-wear. Howver, designers are not the only contributors to the development and innovation of tennis-wear. Tennis players who are well aware of the design make-up may affect some aspects of tennis-wear. Even some tennis players launched certain tennis-wear brands. They are not just players in games, but also innovators of this certain type of clothing. In this sense, they design, select, and put on tennis-wear as designers and players, which has contributed a lot to variation and advancement of tennis-wear. Such diversified of attempts in terms of design have led to the variety of tennis-wear, and adopting certain features of other sportswear has enhanced the functionality as well. As for materials, functional materials as well as lingerie look and laceworks as in dance looks were used, and even nude-color short pants were introduced to represent such images of fantasy and illusion. As for color as well, a revolution of color, which has been a taboo, was led. The popularity of tennis-wear fashions even leads to combination with features of other areas, which has been more diversified by the collaboration with designs inspired by toga of Greece and various other areas such as films and arts.