• 한국콘텐츠학회논문지
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• 제19권11호
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• pp.288-296
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• 2019

한국섬유산업은 위기에 직면하고 있으며, 해외진출이 증가하고 있다. 한국 섬유산업이 세 번째로 많이 진출하고 있는 인도네시아는 세계4위 인구라는 거대내수시장과 낮은 임금으로 생산직인력채용이 용이하여 외국인 직접투자가 섬유분야에서 가장 활발히 진행되고 있으며 이중 한국의 직접투자액이 5위이다. 인도네시아 진출 한국 섬유원단업체의 발전 전략을 수립하기 위하여 먼저, 문헌연구를 통하여 국내외 섬유업체의 SWOT 대표 요인들을 도출하였고, 인도네시아에 진출한 한국 섬유산업 중, 원단생산업체 내 전문가들을 대상으로 FGI방식을 통해 2차 SWOT 대표요인들을 도출하였다. AHP 분석기법에 따라, SWOT 대표요인들로 계층모형을 만들고, 설문을 실시하여 의사결정요인들의 최종가중치와 우선순위를 도출하였다. 이를 통해 인도네시아에 기존에 진출한 기업과 향후 진출을 목표로 하고 있는 기업에게 도움이 될 수 있는 경영전략을 제시하고자 한다.

• 복식문화연구
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• 제19권1호
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• pp.128-149
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• 2011

This study dealing with the Italian futurist and Russian constructivist costume designs which aimed for new fashion design freed from the conventional meanings of fashion and explore the artistic purpose reflected within the designs expressed differently according to cultural and regional differences in order examine the early 20th century Avant-grade costume designs. The scope of this study is limited to the 1910s to the 1930s when the Italian futurism and the Russian constructivism were originated and were most active. This monograph focused on the works of the Italian futurists, Giacomo Balla who declared the 'Manifesto delle moda minile futurista', Fortunato Depero, and Thayaht who suggested a new direction for the futurist, and on the works of the Russian constructivists Alexander Rodchenko, Varvara Stepanova and Liubov Popova. As an one method of investigated, this paper is used materials of various sources to examine their features. Futurists costume designs expressed a radical conception of progress and their source of aesthetics was dynamism. The concept of 'power' which was the basis of the futurists was incorporated in the costumes while non-symmetrical cut-outs and bright and vivid colors completed the futurist costume designs. Moreover the Russian constructivists brought advances in the field of fabric and textile designs. What was particularly interesting about the Russian constructivist costumes was that the artists worked at the textile mills themselves, directly involved in the designs and manufacturing of fabric, developing an advancement in textile and a new understanding of costume. Furthermore, many Russian artists settled in Paris, actively participating in the fashion industry, and therefore, they have greatly contributed to the development of the early 20th century Avant-garde costume designs.