• 한국응용과학기술학회지
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• 제40권4호
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• pp.751-760
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• 2023

본 연구는 뷰티 숏폼 콘텐츠의 특성이 소비자의 행동에 미치는 영향에 대해 조사하였으며, 뷰티 숏폼 콘텐츠와 관련한 통계학적 연구를 통해 뷰티, 마케팅 분야에 학술적 기초자료를 제공함으로써 학문적인 기여를 하고, 양질의 콘텐츠를 제작하고 효과적인 마케팅에 도움이 되게 하는데 연구의 목적이 있다. 미용 소비자를 대상으로 한 온라인 설문조사로 회수된 총 405부의 유효 설문을 통계분석에 최종 사용하였다. 분석 결과 뷰티 숏폼 콘텐츠 특성이 높을수록 구매의도, 추천의도, 고객만족이 모두 높아지는 것으로 볼 수 있다. 따라서 뷰티 숏폼 콘텐츠 제작 시 소비자의 호감을 살만한 신뢰를 얻을 수 있는 내용으로 구성되며, 소비자와 소통이 원활하고, 사실적인 내용이 담긴 재미있는 영상을 제작하면 짧은 시간에 확산이 용이할 수 있으며, 소비자의 긍정적인 소비행동을 이끌어내어 매출 증진에 기여될 것으로 사료된다.

• 디자인학연구
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• 제18권1호
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• pp.233-244
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• 2005

현시대의 사회 문화적 기호로 대표되는 것 가운데 하나가 패션이다. 이는 패션이 전달하는 스타일이 단순한 양식이나 유행의 개념에 그치지 않고 일종의 소통의 코드이며 그 자체로서 하나의 미디어로서 기능하기 때문이다. 음악은 항상 패션에 자신의 힘을 과시해 왔고 패션 역시 음악에 영향력을 발휘하고 있다. 패션은 시각을 음악은 소리를 통해 세계에 대한 우리의 이미지를 표현하는 방식으로 패션과 음악은 뗄 수 없는 불가분의 관계를 가지고 있다. 또한 패션과 음악은 모두 사회상을 투영하는 동시에 사회군화 전반에 걸쳐 영향을 주고있는데 음악이 새로이 변화할 때마다 항상 새로운 청년문화가 창출되어 왔으며 이 문화들은 뚜렷한 패션 경향을 이루며 확산되어 왔다. 본 연구에서는 하위문화 집단에서 그들만의 정체성과 의식을 표현하기 위해 사용되는 패션 스타일과 음악 유형들 간의 관련성을 기호적 관점에서 분석함으로써 청년문화 저변에 자리잡고 있는 대중 음악과 패션 스타일의 관련성을 규명하였다. 이와 같이 하위문화는 자신의 삶의 조건이 강제하는 모순으로부터 도피하거나 이를 해결하는 가장 중요한 기제로써 표상행위가 되고 그들 스스로 독특한 음악 스타일이나 의복 스타일을 개발하여 상징적 저항의 기의를 표출하고 있었다. 결론적으로 하위문화에 있어서 대중음악과 패션스타일과의 관계는 내면의 가치를 기호화한 상동성으로 나타나고 있음을 알 수 있다.

• 융합정보논문지
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• 제11권5호
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• pp.232-241
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• 2021

본 연구는 프랜차이즈 직영점의 교육만족도가 교육요구도를 매개로 이직요인에 미치는 영향으로 이직률의 대비책을 마련하기 위해 실시하였다. 자료수집 방법은 설문지법으로 237부가 최종분석자료로 사용되었다. 결과는 첫째, 일반적 특성에 교육요구도를 분석한 결과 학력(F=5.655, p<.01), 이직요인을 분석한 결과 직급(t=-2.809, p<.01)에서 유의한 차이가 나타났다. 둘째, 교육만족도는 교육요구도(r=-.16, p<.05)와 이직요인(r=-.18)과 유의한 부적 상관관계로 나타났으며, 교육요구도는 이직요인(r=.53, p<.01)과 유의한 정적 상관로 나타났다. 셋째, 이직요인에 디자이너(B=.25, t=2.332, p<.05)와 교육요구도(B=.88, t=9.313, p<.001)는 유의한 정적 영향을 미치는 것으로 나타났다. 넷째, 교육만족도와 이직요인에 교육요구도는 유의한 영향(β=.52, p<.001)으로 완전 매개하는 것을 알 수 있다. 따라서 직영점의 종사자와의 소통과 교육 후 분기별 만족도와 요구도를 조사하고, 다양한 커리큘럼 교육으로 이직률을 낮출 수 있을 것으로 사료된다.

• 헤리티지:역사와 과학
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• 제56권2호
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• pp.80-98
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• 2023

조선 말기에 혼례를 마치고 신부가 시댁으로 가면서 가마를 타고 가는데 그 때 가마 위에 벽사의 뜻이 담긴 호피를 덮는 풍습이 있었다. 상류층을 중심으로 호피나 표피를 사용했으나 서민들 사이에서는 호랑이무늬를 그린 모포를 덮었다. 그 모포는 호탄자, 호구, 호구욕 등으로 불리었다. 신부 가마덮개가 처음 사용된 시기는 정확히 알 수 없으나 대략 19세기 말부터 1930년대까지 성행하다 점차 사라졌는데 신식혼례의 등장으로 신부의 가마가 필요 없어졌기 때문으로 추정된다. 호랑이무늬 모포는 신부 가마 위에 덮는 것뿐만 아니라 상 위에 덮거나 바닥에 깔기도 하였는데 모두 혼인식에 사용되었다. 호랑이무늬 모포 9점에 대한 성분 분석 결과 겉감과 안감의 경사는 무명실, 위사에는 모사(毛絲)가 사용되었다. 겉감의 위사에 사용된 모사는 2종류인데 중국의 비미종 양모와 중국 허베이성 카펫용 염소모로 밝혀졌다. 러시아에서 '호랑이 그린 무늬의 담요'가 수입되었다는 것과 중국에서 모물을 사들인 후 우리나라에서 깔개를 만들었다는 내용, 그리고 여러 기법의 모깔개를 제작했다는 사료를 고려해보면 중국과 러시아 등지에서 완제품으로 수입하기도 했고 국내에서 생산하기도 했다는 것으로 추정된다. 실물 조사한 호랑이무늬 모포 13점의 겉감은 직물의 조직과 실꼬임 방향에 따라 6종류가 있으며 안감은 3종류, 그리고 가선은 4종류로 분류되었다. 안감과 겉감은 한 폭을 그대로 사용한 것으로 직물의 폭이 최소 135cm의 광폭으로 직조하였다. 호랑이 무늬를 표현하는 방법은 공판화 기법이다. 빨간색 겉감 위에 호랑이 몸통과 꼬리의 도안을 대고 흰색을 칠한 후 호랑이의 바탕색인 노란색과 얼룩무늬인 갈색, 검은색의 순서로 칠한다. 호랑이무늬는 조금씩 달라서 여러 공방에서 제작된 것으로 추정된다. 호탄자의 무늬는 호피처럼 엎드린 상태로 그렸는데 서 있는 자세도 생겨나고 호랑이무늬는 작아지면서 가장자리에 화려한 꽃무늬를 그려 넣었다. 이같이 호탄자는 무늬에 장식적인 요소가 가미되는 변천을 겪다가 가마덮개로서의 기능이 상실되면서 점차 사라졌을 것으로 여겨진다. 현재 남아 있는 호랑이무늬 모포 중 수입품이 포함되어 있다는 점과 당시 유행이었던 점을 고려하면 여러 생산지에서 제작되었을 것으로 추정된다.

• 한국진공학회:학술대회논문집
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• 한국진공학회 2012년도 제43회 하계 정기 학술대회 초록집
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• pp.269-269
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• 2012

A new ion source has been designed, fabricated, and installed at the NBTS (Neutral Beam Test Stand) at the KAERI (Korea Atomic Energy Research Institute) site. The goalis to provide a 100 keV, 2MW deuterium neutral beam injection as an auxiliary heating of KSTAR (Korea Super Tokamak Advanced Research). To cope with power demand, an ion current of 50 A is required considering the beam power loss and neutralization efficiency. The new ion source consists of a magnetic cusp bucket plasma generator and a set of tetrode accelerators with circular copper apertures. The plasma generator for the new ion source has the same design concept as the modified JAEA multi-cusp plasma generator for the KSTAR prototype ion source. The dimensions of the plasma generator are a cross section of $59{\times}25cm^2$ with a 32.5 cm depth. The anode has azimuthal arrays of Nd-Fe permanent magnets (3.4 kG at surface) in the bucket and an electron dump, which makes 9 cusp lines including the electron dump. The discharge properties were investigated preliminarily to enhance the efficiency of the beam extraction. The discharge of the new ion source was mainly controlled by a constant power mode of operation. The discharge of the plasma generator was initiated by the support of primary electrons emitted from the cathode, consisting of 12 tungsten filaments with a hair-pin type (diameter = 2.0 mm). The arc discharge of the new ion source was achieved easily up to an arc power of 80 kW (80 V/1000 A) with hydrogen gas. The 80 kW capacity seems sufficient for the arc power supply to attain the goal of arc efficiency (beam extracted current/discharge input power = 0.8 A/kW). The accelerator of the new ion source consists of four grids: plasma grid (G1), gradient grid (G2), suppressor grid (G3), and ground grid (G4). Each grid has 280 EA circular apertures. The performance tests of the new ion source accelerator were also finished including accelerator conditioning. A hydrogen ion beam was successfully extracted up to 100 keV /60 A. The optimum perveance is defined where the beam divergence is at a minimum was also investigated experimentally. The optimum hydrogen beam perveance is over $2.3{\mu}P$ at 60 keV, and the beam divergence angle is below $1.0^{\circ}$. Thus, the new ion source is expected to be capable of extracting more than a 5 MW deuterium ion beam power at 100 keV. This ion source can deliver ~2 MW of neutral beam power to KSTAR tokamak plasma for the 2012 campaign.

• 한국응용과학기술학회지
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• 제34권2호
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• pp.394-399
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• 2017

본 연구는 오존수를 이용한 인체공학적 샴푸대가 분리 가능하고 미세분사 형식의 샤워헤드와 높낮이 조절이 가능한 샴푸대를 개발할 수 있는 장치기술 및 그 방법을 제시하고자 한다. 개발결과 기존의 장치보다 피시술자 머리가 세발대 안으로 들어오는 인체공학적 디자인과 목받이 부분을 높게 제작하여 물튀김 방지를 완성하였다. 실험결과 물을 공급하는 통에 부착되어 있는 온수 유지 히터를 통해 피시술자의 기호에 맞는 온도를 설정하여 시술 시 지연 시간 없이 온수 세발 가능하도록 온도센서를 통하여 확인한 결과 수온유지($38^{\circ}C$)가 일정하게 유지되었다. 그리고 오존수 변환장치 설치로 자체 살균(1PPM) 및 정화 기능까지 가능한 장치의 효용성을 알 수 있었다. 오존수를 20분 정도 측정한 결과 오존 농도가 1PPM 이하로 측정되어 안정성을 확보하였다. 최종적으로 오존수를 20분 정도 측정한 결과 오존 농도가 1PPM 이하로 측정되어 안정성을 확보하였고, 온수장치와 오존수 변환장치와 함께 이동 샴푸대의 모든 부분이 사용자가 사용하기에 불편함이 없도록 설계 하였다.

• 조형예술학연구
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• 제6권
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• pp.140-202
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• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• 복식
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• 제64권7호
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• 패션비즈니스
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• 제19권1호
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• 복식
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• 제44권
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• pp.181-199
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• 1999

The industry of modern clothing has deviated from the overflow of commercialism and the standardization and nowadays is going toward pursuing art, creativity, and high added value. This trend brings the return of the natural materials from the synthetic textiles and increases the value of old and handmade fabrics. Finally, the handmade-paper, which is a natural material, comes to be reconsidered as a new material for the clothing. Therefore, as the natural materials and the manufacture of handmade clothing are rising again, the qualitative improvement and globalization of clothing industry should be first realized through the developments of creative and various clothing materials and new expressing techniques. The above investigation and study have been synthesized and analyzed as follows: First, through the study on the origin of the paper clothing, its historical background and the process of its development, we've learned these two facts following : the paper clothing of the East in the past mostly had practiced meanings. On the other hand, in the West it had meanings which were raised the artist's emotions and beauty-consciousness to the artistic level by the various kinds of expressing methods. Second, handmade-paper was manufactured by the embedding method, which mixed mulberry pulp, gauze, corn, hair, sisal, silk and so on. It was found that handmade-paper had the affluent and proper texture as the clothing material and was be able to control the clarity through the variation of thickness. It was also confirmed that the creative and original texture with hand-worked molding beauty was obtained by the use of handmade-paper. Third, when the handmade-paper is used, the molding beauty of plane, relievo, and solid can be freely pursued, and various and effective molding conformation can be constructed by the effect of superposition and repetition. Also, because the maximum discretion from the various optional manufacturing methods is allowed, the molding beauty can be maximized when the clothes are manufactured with handmade-paper. Fourth, the gauze with strong drape was combined to overcome the stiffness and the tearing of the paper. As a result, the durability and the wearability of the paper were strengthened and thus the thus the applications as the clothing material were enlarged. In conclusion, in order to enhance the value, creativity, practicality, and artistic sense of the design for modern clothing, the clothes made of handmade-paper should be more studied. Moreover, for the generalization of paper clothes, the studies on the development of practical paper with paper with water resistance, post-treatment after dyeing, flexibility, and durability should be done. I really hope that this study will be the motive to provoke the possibility of handmade-paper as new clothing material in not only practical sense but also artistic sense.