• 한국의류학회지
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• 제40권4호
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• pp.746-762
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• 2016

This study considers expression techniques and aesthetic values in the images of head dress reflected in a natural motif. The conclusions of the study are as follows. The first type is the realistic expression (52.4%) such as the reproduction of a natural object's essential form (27.0%), the partial derivation of the natural object (19.3%), and the planarization for the actual image of the natural object (6.1%). The second type is a metaphorical expression (39.0%) which emphasizes the morphological characteristics of nature (18.2%), the structuration of the natural object's silhouette into a three-dimensional or two-dimensional form (11.5%), and the abstract expression of the form in the natural object (9.3%). The third type is a hybrid expression (8.6%) that is a compromise between practical (or metaphorical expressions) so that expression techniques represent a compromise between the natural object's essential form and abstract expression (4.6%) or the combination of the natural object's silhouette into a three-dimensional or a two-dimensional visualization (4.0%). Aesthetic head dress values reflected in the natural motif first indicate a primitive value. This state of natural instinct recreates the natural object or combines part of the biological elements of the natural object to create an inducement to escape from the practical world. The second is amusement in the expression of animals in dynamic and humorous forms creates an illusion of animals being alive with a representative playful enjoyment. The third is abstraction that grant freedom in the observer's aesthetic rational through a reinterpretation of the fashion designer. The fourth is eclecticism where a compromise represents an act of mixing a variety of independent factors to create harmony with the imagery of nature created through the grafting of diverse expression techniques that break away from stereotypes of existing natural objects to create a type of nature that cultivates new values.

• 복식
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• 제57권3호
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• pp.150-164
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• 2007

For the study on the African style reflected in fashion designs since 2000, the applications of African style shown in the four major collections from 2000 S/S to 2005 F/W and some African designers' collections have been analyzed and compared. In this study, 218 pieces of fashion design from the four major collections and 80 pieces from the African designers' collections have been analyzed in three categories - traditional clothes, traditional textile design and accessories. First, in the formal application of traditional clothes, the western clothes seasoned with the traditional images takes the majority of the cases in both the four major collections and the African designers' collections by 89.4% and 77.5%, respectively. However, the African designers have a tendency to actively receive modernism on the traditional clothes, while most of the western designers in the four major collections re-explain and distort the natural and primitive images of Africa into the ones longed for by the westerns. Second, in the textile design, the African designers adopt colorful and geometrical patterns of traditional textile designs of West Africa, while various animalistic patterns (36.2%) are used in the four major collections. The western designers mistakenly mix these patterns with those from the West or other traditional patterns from different cultures, obstructing proper understanding of the African culture. Third, accessories are the cultural elements most widely utilized by the African designers. In the African designers' collections, they are simplified to provide the functions well-matched with the modern clothes. In the four major collections, however, the primitive and colorful accessories found in African tribal culture are used in an exaggerated manner.

• 복식문화연구
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• 제17권3호
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• 한국의류학회지
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• 제33권6호
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• pp.853-859
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• 2009

각국의 여성용 위생용품의 유해중금속을 비교 평가하기 위하여, 일회용 생리대는 한국 3개사, 일본 2개사, 미국 3개사, 독일 3개사, 중국 2개사의 시료와, 여성용 일회용 탐폰은 한국 1개사, 일본 2개사, 미국 2개사 시료를 대상으로 Cr, Co, Ni, Cu, Cd, Pb의 유해중금속 분석을 행하였다. 여성용 일회용 생리대의 용출실험에서는 Cr, Ni, Cu가 모든 시료에서 검출 되었다. 또한 여성용 일회용 탐폰의 용출실험에서 Cr, Ni, Cu 가 모든 시료에서 검출 되었다. 여성용 일회용 탐폰의 용출실험의 결과는 생리대의 결과값보다 낮은 농도롤 나타내었다. 본 연구에서 분석한 각국 여성용 일회용 위생용품의 유해중금속의 분석값은 Oeko-Tex Standard 100의 규제치와의 비교에서 규제치 이하로 인체유해성은 없는 것으로 판단되어진다.

• 한국가정과교육학회지
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• 제24권2호
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• pp.135-154
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• 2012

본 연구의 목적은 2002년도부터 2011년도까지 10년간의 가정과 '임용시험 문항'(이하 '총 문항'이라 칭함)을 대상으로 분야별 출제 비율 분석, 평가 내용 요소(이하 '평가 요소'라고 칭함)에 따른 문항 분석, 임용 상세화 기준 개발 이전과 이후의 분야별 평가 내용 요소를 분석하는데 있다. 연구 결과를 요약하면 다음과 같다. 첫째, 가정과교육학 분야의 분석 결과 총 문항 중 30.9%의 비중을 차지했으며, 최근에는 35%의 출제 비율을 보이고 있다. 평가 요소별 출제 비율을 보면 '가정과 교수 학습 방법의 실제'(33.2%)가 가장 높았으며, '가정과교육의 본질'(3.2%)은 가장 낮았다. 둘째, 식생활 분야의 분석 결과 총 문항 중 17.5%의 비중을 차지했으며, 최근에는 15%의 출제 비율을 보이고 있다. 평가 요소별 출제 비율을 보면 '조리원리 실습'(26.1%)이 가장 높았으며, '식생활 문화'(3.7%)는 가장 낮았다. 셋째, 의생활의 분야의 분석 결과, 총 문항 중 15%의 비중을 차지했으며 최근에는 12.5%의 출제 비율을 보이고 있다. 평가 요소별 출제비율을 보면 '의복 관리'(25.1%)와 '의복 및 생활용품 제작'(25.1%)이 가장 높았으며, '의복의 선택과 자기표현'(3.0%)은 가장 낮았다. 넷째, 주생활 분야의 분석 결과, 총 문항 중 11%의 비중을 차지했으며 최근에는 12.5%의 출제 비율을 보이고 있다. 평가 요소별로는 '주거생활문화의 이해'(22.5%)가 가장 높고, '주거실내디자인의 이해'(10.7%)는 가장 낮았다. 다섯째, 소비생활 분야의 분석 결과, 총 문항 중 12.4%의 비중을 차지했고, 최근에는 12.5%의 출제 비율을 보이고 있다. 평가 요소별 출제 비율을 보면 '가정자원관리'(34%)가 가장 높았으며, '생애설계와 가정복지'(0%)에서는 전혀 출제되지 않았다. 여섯째, 가족생활 분야의 분석 결과 총 문항 중 13.3%의 비중을 차지했고, 최근에는 12.5%의 출제 비율을 보이고 있다. 평가 요소별 출제 비율은 '가족에 대한 이해와 가족의 변화'(23.8%)가 가장 높았고, '결혼과 가족발달'(2%)은 가장 낮았다. 마지막으로, 전반적으로 임용 상세화 기준의 개발은 가정과 중등 임용 시험의 평가 영역별 내용 요소의 균등화와 다양화의 문제를 다소 완화하였다.

• 복식
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• 제65권6호
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• pp.99-111
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• 2015

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.

• 복식
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• 제67권3호
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• pp.81-98
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• 2017

The purpose of this study is to provide basic information for the development of pants patterns with a high level of fit and comfort through calculating surface variations of lower body parts by movement, grouping them into factors, and analyzing how their surface variations link to one another. The achieved results will help determine essential elements for constructing pants patterns, such as key measurements of lower body parts, the amount of ease values and selection of fabrics, which should be taken into consideration for allowing better movement in clothing. The study required lower body 3D scanning of women for analysis, and 13 women between the ages of 20-24 participated in the scanning, which was done by using Artec Eva 3D scanner. Their scanned data were digitalized and converted to measure the values of their lower body surface length and girth in pre-determined positions such as walking, stair climbing and sitting on a chair. These measurements have been statistically analyzed through SPSS 21.0 to obtain the average amounts and rates of extension for each of the measurement item. Some of the highlighted study results are as follows: The surface length and girth measurements were grouped into 4 factors based on their average extension rates. The results from correlation analysis between measurement items within each factor demonstrated that common items linked to all the changes in the values of other items in the three movements. But in most cases, items were not always correlated with each other for different movements. The results also showed that there were correlations between girth measurements, length measurements, and girth and length measurements. Therefore, key measurements for daily pants should be determined within reasonable estimations between relevant measurement items, while the measurements for work pants, which often withstand certain postures or repetitive movements, may require measurement items that are appro priate for, and closely related to, certain movements or tasks.

• 복식문화연구
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• 제12권6호
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• pp.933-944
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• 2004

This study was aimed to provide the fundamental and various measurement data of the head and face for male children. Two hundred forty one male children, aged nine to twelve years, participated for this study. The 31 regions on the head and face of the subjects were directly measured by the expert experimenters. Through factor analysis, the six factors were extracted upon factor scores and those factors comprised $67.47\%$ for the total variances. The first factor was described the general height elements for the mouth and the environs of the mouth. The second factor was described the general height around the nose, forehead and eyes. The third factor was described the height of the ear environs. The forth factor contained the length around the sinciput to the occiput, the head thick and the head circumstance. The fifth factor was described the general width of the outer head and the corner of the eyes. The last factor contained the depth of the mouth and nose. Four clusters as their head and face shape were categorized using six factor scores by cluster analysis. Type 1 was characterized by the shortest head and face width, surface length and girth, and the shorter length of head, but the highest position of chin, philtrum, upper lip. Type 2 was characterized by the shortest head and face length and thickness, and the lowest position of the forehead, eye, nose, mouth, ear environs, but that had wider width of head and face. Type 3 was characterized by the longest and the widest head and face type, and the highest position of the mouth. Type 4 was characterized by longer length of head and face, and the widest head girth and largest head thickness, and the highest position of the forehead, eye, nose environs. And this type had the widest width of nose and mouth, and the longest head surface length.

• 복식
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• 제57권4호
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• pp.159-172
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• 2007

For the study on the Latin American culture reflected in fashion designs since 2000, the applications of Latin American culture shown in the four major collections from 2000 S/S to 2005 F/W (110 pieces) and some African designers' collections (157 pieces) have been analyzed and compared in three categories - forms, patterns and accessories. First, in the formal application of traditional clothes, the traditional elements of Indio culture are utilized in both the four major collections (76.8%) and the Latin American designers' collection (77.1%). Quechquemitl, the traditional Indio clothes are utilized in various forms in the four major collections, while the Latin American designers adopt various forms of traditional clothes, such as quechquemitl, camisa and pollera. Second, in the textile design, the patterns from Indio's traditional textile design are utilized in both the four major collections (68.7%) and the Latin American designers's collections (5.6%). The remarkable difference between the Latin American designers and the western designers is that the former like to mix the simple and primitive Indio culture with the colorful Iberian culture, and to utilize various patterns of feather, which is an important symbol in the traditional culture, expressing tradition in the modern touch. On the other hand, the western designers change the primitive and handcraft feel of Indio patterns into colorful ones, or mix the colorful Spanish-style flower patterns with primitive and passionate feel. Third, simple and handcraft feel of Indio accessories are utilized in modern fashion in both the four major collections and the Latin American designers' collections. The most remarkable difference between the two group of designers' collections is that various feather patterns are used in Latin American designers' collection, while the accessories reminding of relics of Maya and Inca are widely used in the four major collections.

• 정보처리학회논문지B
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• 제11B권6호
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• pp.683-690
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• 2004

3차원 의상 모델링과 시뮬레이션은. 디지털 콘텐츠에서 중요한 요소가 되었다. 이를 위한 여러 도구들이 개발되었으나, 고유한 의복을 표현하는 가상 의상의 디자인은 그래픽 디자이너에게 어려운 작업이며 의상에 대한 전문지식을 필요로 한다. 특히, 한복의 경우는 옷감, 재단방식, 착용법 등에서 양복과는 구성학적 차이점을 지니므로 모델링이 더욱 어렵다. 본 연구에서는 한복 제작에 대한 전문성이 없이도 한복을 쉽게 모델링 할 수 있도록 하는 지식 기반 접근법을 제안한다. 특히, 실사 및 가상 옷감의 시각적 유사성 판단 방법에 의해 옷감 소재 특성 규칙베이스를 구축하고, 신체 특성이 다른 캐릭터들의 체형 특성을 반영한 한복 사이즈의 부분별 다단계 조정 방법을 지식베이스 화하였다. 제안된 지식 기반 모델링 방법은 마야의 플러그-인으로서 제작되었고 다양한 신체형에 대한 드레이핑(착용 시뮬레이션) 실험을 통해 적용 가능성을 보였다.