• 한국식품위생안전성학회지
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• 제29권3호
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• pp.217-222
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• 2014

본 연구는 20% ortho-phenylphenol을 함유한 훈증소독제, Fumagari $OPP^{(R)}$의 Clostridium perfringens (C. perfringens) 아포에 대한 살아포 효과를 평가하기 위해, French standard NF T 72-281에 따라 수행하였다. 배양 현탁액 중 C. perfringens의 아포수(N 값), 훈증소독제에 노출된 각 담체의 아포수(n1, n2, n3), 평판배지법에 의한 시험 아포 현탁액 중 아포수(N1), 여과법에 의한 시험 아포 현탁액 중 아포수(N2), 그리고 대조 담체의 회복 아포의 평균값(T 값)을 예비실험을 통해 구하였다. 또한, 훈증소독제에 노출된 C. perfringens의 감소 아포수(d 값)는, T 값, 회복액 중 아포수의 평균값(n'1) 그리고 배지의 담체에서 증식한 아포수의 평균값(n'2) 등을 이용하여 산출하였다. N 값은 $4.4{\times}10^7spores/mL$이었으며, n1, n2, n3은 각각 0.5N1, 0.5N2, 0.5N1 보다 높게 나타났다. 그리고 T 값은 $4.9{\times}10^5spores/carrier$이었다. 훈증소독제의 살아포 효과에 있어서, d 값은 4.52 이었다. 훈증소독제에 대한 프랑스 기준에 따르면, 효과적인 살균력을 갖는 훈증소독제의 d 값이 3 이상이어야 하는 것으로 규정하고 있다. 본 연구의 결과로부터, Fumagari $OPP^{(R)}$는 C. perfringens 아포에 대해 높은 살아포 효과를 갖는 것으로 나타나, 병원성 세균의 아포로 오염된 식품재료와 주방기기의 소독에 적용할 수 있을 것으로 사료된다.

• 한국식품위생안전성학회지
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• 제28권4호
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• pp.349-353
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• 2013

본 연구는 20% ortho-phenylphenol을 함유한 훈증소독제, Fumagari OPP$^{(R)}$의 Staphylococcus aureus (S. aureus)에 대한 살균효과를 평가하기 위해, French standard NF T 72-281에 따라 수행하였다. 배양 현탁액 중 S. aureus의 균수 (N 값), 훈증소독제에 노출된 각 담체의 균수 (n1, n2, n3), 평판배지법에 의한 시험균주 현탁액 중 균수 (N1), 여과법에 의한 시험균주 현탁액 중 균수 (N2), 그리고 대조담체의 회복 균수의 평균값 (T 값)을 예비실험을 통해 구하였다. 또한, 훈증소독제에 노출된 S. aureus의 감소 균수 (d 값)는, T 값, 회복액 중 균수의 평균값 (n'1) 그리고 배지의 담체에서 증식한 균수의 평균값 (n'2) 등을 이용하여 산출하였다. N 값은 $4.0{\times}10^8$ CFU/mL이었으며, n1, n2, n3은 각각 0.5N1, 0.5N2, 0.5N1 보다 높게 나타났다. 그리고 T값은 $3.4{\times}10^6$ CFU/mL이었다. 훈증소독제의 살균효과에 있어서, d 값은 6.43 logCFU/mL이었다. 훈증소독제에 대한 프랑스 기준에 따르면, 효과적인 살균력을 갖는 훈증소독제의 d 값이 5 logCFU/mL 이상이어야 하는 것으로 규정하고 있다. 본 연구의 결과로부터, Fumagari OPP$^{(R)}$는 S. aureus에 대해 높은 살균효과를 갖는 것으로 나타나, 병원성 세균으로 오염된 식품재료와 주방기기의 소독에 적용할 수 있을 것으로 사료된다.

• 복식
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• 제66권3호
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• pp.51-74
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• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.

• 한국의상디자인학회지
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• 제4권3호
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• pp.89-95
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• 2002

Object of this study presents marketing of new market segmentation as what I classify a social stratum, and analyze sense of value about each social class clothes and a taste, but is. The study way used a questionnaire as an investigation study way, and I did execution from September to October in 1999, and the investigation object picked up an any table with the woman university student who lived in Seoul and did investigation, and analysis targeted total 550 people. I used a measurement item of economic capital and cultural capital as a classification item of a social stratum and selected a dwelling, a kind of property, an annual salary of parents as an index of economic capital. Presentation held an occupation of parents, scholarship, culture activity as an index of cultural capital. It is social stratum structure an occupation arranges in 12 job categories by, for your reference, I do a social orbit of the P. Bourdieu which is a French sociologist and an index of inheritance cultural capital, and having set up eight phases of evaluation, and to do a Y, Cultural Capital with X with economic capital. Sense of value about clothes and attitude selected social value, aesthetic appreciation enemy value, authority a few value in sense of value of the 6 type that E. Spranger(1922) presented, and a proposal did type in 3 about clothes. The measurement way used a 11 question item and measured I with five phases of Likert-type criteria and executed factors analysis by main ingredient analysis and varimax revolution law. I named a more than inherent 1 with the liver which was social man, aesthetic appreciation enemy man, an authority enemy with a basis. The results are as follows : People of the group which they belong to the same social class, and there is have a similar taste and select a similar product, and scholarship and an occupation of parents please lay a taste of children and sense of value, a hierarchical difference of attitude too and do it.

• 한국의상디자인학회지
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• 제12권3호
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• pp.105-119
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• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• 복식
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• 제56권2호
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• pp.1-16
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• 2006

The purpose of this study is to analyze the meanings of national images represented in Vivienne Westwood' collections through investigating her works in an aspect of national identity. The results were as follows: British fashion is generally known for having two national identities, Monarchy and Anarchy. Monarchy is the traditional British look and Anarchy is the free-spirited look which is related with the postwar phenomenon of rebellious youth culture. As a punk, Westwood participated in creating Anarchic identity of British fashion. But from the 80s, Westwood's attitude toward the national images has been changed. As a high fashion designer who became to represent British fashion in global market, Westwood started to research British dress tradition, especially through comparing with French fashion. She was particularly fascinated with the traditional fabrics like tartans, tweeds and innovative tailoring skills, which were related with the heritage of Englishness in dress. But she didn't follow the conventional ways and tried to reinvent the historical tradition in modern ways. By combining Monarchic tradition with tempting female sexuality, Westwood transgressed the existing ordinary Britishness of British fashion which was composed of aristocratic and royal identities, and created some innovative British fashion images. With these works, Westwood contributed to consolidate Englishness in dress on the one hand, but on the other hand, served to reconfigure Britishness of British fashion. Consequently, Westwood showed that what is believed as the essential national fashion identity can be challenged and reconfigured in modern fashion field.

• 한국융합학회논문지
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• 제6권6호
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• pp.87-93
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• 2015

광고에 대한 접근 방식은 크게 두 가지로 설명된다. 즉, 마케팅 관점과 커뮤니케이션 관점이다. 광고학자 오조(Ozoh, 1998)는 광고가 마케팅의 도구라는 관점과 광고가 커뮤니케이션 과정이라는 관점으로 구분해 논할 수 있다고 주장했다. 이 두 가지 관점은 광고의 메시지가 어떤 내용과 형태로 구성되어야 하는가에 대한 다양한 논쟁을 제시하기도 한다. 광고는 기본적으로 광고주로부터 소비자에게 메시지를 전달하는 것을 포함하고, 다시 피드백을 받는 설득의 커뮤니케이션 과정에 속한다고 본다. 그러나 이 두 범주가 보여주는 차이점에도 불구하고 기업의 브랜드가치를 측정하는 문화코드의 개념에서는 상호 보완의 기능을 한다고 할 수 있다. 본 연구는 이 두 관점을 양적 소구와 질적 소구로 분류한 뒤, 광고 텍스트의 소구방법으로 시도되는 스토리텔링 장치를 문화기호학적 관점에서 설명한다. 즉 상품의 의미가치가 상품에 대한 사용가치로 표출되어 소비자들의 욕구충족을 어떻게 만족시키고 있는가를 기호화 과정으로 분석한다. 분석 방법으로는, 그레마스의 의미생성모델을 실제 사례로서 커피광고에 적용시켜본 뒤, 프랑스 커피 광고와 한국의 커피 광고의 차별화 전략의 상이점을 기호학적 관점에서 분석해 보고자 한다.

• 한국의류학회지
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• 제40권2호
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• pp.353-364
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• 2016

This study analyzes French designer Hedi Slimane who has received recent attention from the fashion world. He changed sub-culture 'Rock Fashion' into high fashion and altered the stereotype of the existing menswear with the skinny look. His extreme slim-fit style also has changed the menswear market dramatically. Hedi Slimane was mainly inspired by various rock music genres from the 1960 to 2000s such as glam rock, psychedelic rock, grunge rock, and garage rock. He showed in his own rock style when creating his collection. The collections inspired from the specific rock music and style were selected from Dior Homme (2001F/W-2007F/W) and Saint-Laurent (2013F/W-2015F/W), and analyzed by the 4 genres of rock music and fashion style as follows. First, glam rock style appeared in Dior Homme 2005F/W and Saint Laurent 2014S/S with glamorous full make-up, animal printings, and glitter textures. Second, psychedelic rock style appeared in Saint Laurent 2015S/S with flower patterns, afro hair, fur vests, and western & ethnic bohemian styling. Third, grunge rock style appeared at Dior Homme 2005S/S and Saint Laurent 2013F/W with messedup hair, destroyed jeans, and layering style. Fourth, garage rock style appeared mainly at Dior Homme 2006 S/S with messed-up hair, slim suit, fedora, and sneakers. This result is expected to be used for research and development on modern rock style for contemporary menswear.

• 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.

• 복식
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• 제65권5호
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• pp.14-34
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• 2015

The aim of this paper is to analyze the relationship between the inspirations and designs of Dries Van Noten's women's collections from 1994 S/S to 2014 F/W. From the research purpose the following questions arise: how are the brands of Dries Van Noten developed and what are the important features? What are 'the roots of inspiration' for Dries Van Noten's women's collections from 1994 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How are the roots of inspiration categorized, what are the features of each category, and how do these roots of inspiration influence the Noten's designs? The paper is a practical reference of how ideas turn to practical works and what is the relationship between inspiration and design. Researchers utilized a qualitative research method to provide a systematic review of the previous studies. To sum it up, roots of inspiration of Dries Van Noten's women's collections can be classified into seven categories: 'ethnic', 'trend & style', 'flowers', 'artists', 'interpretation', 'fabric & pattern' and 'multiple contents'. Through the roots of inspiration, sensibility of Belgium, inquiry of ethnic & oriental, Artists, England, longing of street fashion, 1920's & 1950's trend & style of French high fashion, romanticism, atmosphere of medieval, gypsy, punk and hippie are extracted and applied to the designs through cross impact. The identities of Dries Van Noten's women's collections are fusion and harmony of cross culture and diversity.