• 디자인학연구
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• 제12권4호
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• pp.5-14
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• 1999

1960년대의 한국현대공예계를 발아기로 볼 때 '70년대는 성장 및 개화기라고 할만한 시기이다. 정부의 문예중홍정책, 수출정책, 관광진흥정책은 공예 발전의 적극적 요인으로 작용한다. 공예전공자들의 해외유학과 귀국이 빈번해지기 시작할 뿐만 아니라 해외 공예품의 국내 전시 (특히 도예전)가 빈번히 이루어져 큰 자극제가 된 시기이다. '70년대 중반기에는 국립현대미술관과 문예진흥원이 국내최고의 대규모 공예전(초대전)을 개최하여 공예에 대한 인식을 새롭게 하며, 특히 전국의 각대학에 공예 및 디자인학과가 우후죽순처럼 신설되어 30대의 공예가들이 대학강단에 대거 진출하여 교육게 종사하게 되고 그들이 중심이 되어 결성한 많은 공예단체들과 대학에서 새로 배툴된 신진 공예가들의 동문 단체가 많이 등장하여 활발한 전시활동을 벌여 현대공예계를 활성화시킨다. 전통공예의 중요성에 대한 인식이 보편화되기 시작하며, 오브제적 서구공예 경향과 전통적 실용공예의 경향이 양립되어가고 수공예와 기계(산업)공예 사이의 갈등이 산업디자인의 발전 와중에서 심화되기 시작한다. 따라서 공예의 이념 정립이 서서히 이루어지기 시작한다. 따라서 공예의 이념 정립이 서서히 이루어지기 시작한 시기가 된다. 따라서 '70년대는 한국현대공예의 급속한 성장이 이루어져 꽃이 피는 시기라고 말할 수 있다.

• Asian Journal of Innovation and Policy
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• 제4권2호
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• pp.132-153
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• 2015

Rural enterprise clusters in India have often been characterized by low-end products, poor income earning options and a near-absence of innovativeness. This has implied limited market access, inadequate organization of production and distancing from sources of formal knowledge. Policy neglect of rural industrialization notwithstanding this paper explores the nature of institutional constraints to innovation through intensive case studies of five rural artisan clusters (handlooms and handicrafts) in as many Indian states. Whether it relates to access to loan finance or technology support or linking to markets, the formal institutions (public or private) have been distanced by informality that typifies most rural enterprise clusters. An obsession with a sectoral approach to cluster development has negated addressing infirmities of the space of enterprise, even as scope for learning from some Asian economies in rural enterprise promotion exists. The paper also enquires if the innovation systems have been inclusive and pro-poor.

• Journal of Forest and Environmental Science
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• 제32권1호
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• pp.39-54
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• 2016

The present study analyzes the diversity and usage of NTFPs and evaluates their importance in the day to day life of the people of rural Meghalaya. People use 172 NTFPs belonging to 139 plant species mainly for food, medicine and fuelwood and to a lesser extent for construction, handicrafts and ornamental purpose. These 139 plants belonged to 117 genera and 70 families with Rosaceae, Poaceae and Fagaceae families as the dominant NTFP yielding families. Fruits from shrubs and trees are most commonly harvested by people. Collection and availability of NTFPs for use as food are more during the summer season, which is also the period with least availability of job. NTFPs for subsistence use are greater in number than those having commercial value. The most commonly harvested plant parts are fruits and leaves. Roots, rhizomes and whole plants are extracted in lesser quantity which is a positive approach from sustainability point of view. NTFPs and other forest products also form a vital part of the rural household's income generation activities.

• 공학교육연구
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• 제14권6호
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• pp.31-40
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• 2011

This paper explores and proposes the evaluation criteria of design projects in the entry-level design course. In the entry-level engineering design course the students proceeds various design projects to understand the concept of engineering design process and to develop the creativity. The evaluation criteria of design projects is very important component because the outcome of students in the engineering design course are effected from the evaluation criteria that enforces the students to focus on doing their task. According to this case study the evaluation criteria can be good solution to evaluate the design projects. By the outcome standard of ABEEK on the entry-level engineering design course the evaluation criteria was selected with the results of design projects such as design plan, report, handicrafts, objectives.

• 패션비즈니스
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• 제2권4호
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• pp.13-20
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• 1998

Scandinavia consists of Norway, Sweden, Denmark, Finland, Iceland and Lapland, all linked by historical and geographical ties. In this respect, the objective of this research was to clarify the folk costume of the Scandinavia. Scandinavia many skilled handicrafts are practised, such as leatherwork, silverwork and embroidery. The most popular colours are yellow, blues, reds, greens and white. For women the costume consist of a blouse with a bodice, skirt and apron, over which is worn a jacket or shawl, accompanied by a headdress. Their accessories may be jewellery, belts, kerchiefs and separate pockets. For the men, the costume is a shirt, trousers or breeches, worn with a waistcoat and jacket, neck scarf, and topped with a hat or cap. And the Lapps, both men and women, wear woollen shirts beneath their blue-skirted tunics, and blue trousers. It is one of the most ancient of the costumes worn in western Europe, due to its total suitability to their way of life.

• The International Journal of Costume Culture
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• 제13권1호
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• pp.9-11
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• 2010

East and West meet in Kenya as tourists to enjoy the climate, hospitality and tourist attractions. Handicraft traders target tourists from the East and the West to buy handicrafts. This research was carried out among textile handicraft traders in open air markets in Nairobi, Kenya to find out their product range, customer base and issues affecting their businesses. The study found that only 25% of the handicraft traders exported abroad. Most of the traders would like to and would benefit more from export trade; however they face challenges in doing so. Handicraft traders are constrained in exporting their products to the East and West because of insufficient information, inadequate capital and lack of contacts in the export location.

• 한국지역지리학회지
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• 제3권1호
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• pp.135-154
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• 1997

본 연구는 안동지역 삼베수공업산지의 존립기반 즉 생산유통체계의 변화 및 경영특성, 그리고 산지내 사회적 분업과 지역 분화의 실태를 분석하였다. 안동 삼베수공업은 1970년대 고도경제성장기의 극심한 쇠퇴기를 거쳐 1980년대 후반 이후 소득수준 향상에 따라 1970년대 초반 수준으로 회복되면서 일정수준을 유지하고 있다. 생산유통체계는 종래 일괄생산체계의 "소상품형"에서 1980년대 후반 이후 품질 및 생산공정 개선노력과 생산연령층의 노령화 그리고 기존 제품판매체계의 기능약화로 생산공정상의 사회적 분업을 중심으로 생산유통체계가 변화하였다. 산지내 사회적 분업은 대마 재배와 제사 및 직조 공정간, 나아가서 부분적인 수공업적 공정상의 분업 그리고 생산과 제품 판매간의 크게 3부분에 걸쳐 이루어지고 있다. 이중에서 강산과 제품의 유통 판매간의 분업은 활성화되지 못해 신제품의 기획 개발 및 판로개척을 선도할 수 있는 업체가 정착 발달하지 못하고 있다. 지역 분화의 특징으로는 과거 전지역에서 보편적으로 이루어지던 생산이 특정 지역에 한정적으로 이루어 곁과 동시에 지역간 생산유통체계상의 차별성에 기초하여 지역간 연계가 강화되었다는 점을 들 수 있다. 지역분화의 원인으로는 대마재배의 지역 특화와 노동력 이용방식에 있어서의 차별성을 들 수 있다.

• 복식
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• 제63권8호
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• pp.188-208
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• 2013

This study aims to find out factors of historical specialty and cultural ethnicity that influenced the formation of Spanish fashion as well as examine the characteristics of Spanish fashion by comparing its historical costumes, such as folk costume and court costume with contemporary fashion of major Spanish designers in the 20th century. Documental investigation and analysis of visual materials were used as research method. The study results are as follows: The major factors that affected the characteristics of Spanish fashion in the history include the geographical features, invasion of foreign nations, cultural heritage of various ethnic groups, strengthening of the national power, advancement of international trading through the newly developed routes, and influence of religions such as Christianity, Islam, and Judaism. Featuring the coexistence of variety and heterogeneity, the ethnicity reflected in the culture harmoniously embraces various spirits such as conflict and coexistence, individualism and collectivism or regionalism, and exclusion and tolerance of religions. In addition, the characteristics in the cultural phenomena include passion, sensuousness, individualism, sense of reality, sense of chic, and the people-centeredness. The basic Characteristics of Spanish fashion include the sensuality of excessive zeal, decorativeness of gorgeous handicrafts, exoticism of people-centered variety, extreme contrast of harmony, touching artistry of chic, and fantastic surrealistic wits.

• 한국의상디자인학회지
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• 제6권1호
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• pp.25-33
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• 2004

This study is aimed at reviewing how the Orientalism trend is expressed in the modem fashion in terms of silhouette, color, materials, and detail. To this end, the geographic scope of this study is limited to China, Japan, Korea, while data are collected from fashion collections, domestic and foreign magazines since 2000's, literature, and internet sites. The results of this study can be summarized as follows: 1. Silhouette: the basic square silhouette of the Oriental traditional costume do not disturb the body movement and have an effected on design to smoothly follow the body line rather than cutting out materials into several parts or emphasize the curved body. 2. Color: due to the influence of the Oriental Zen thought, color trend seems to pursue simplicity rather than complexity, and natural aesthetics. In addition, the Oriental colorfulness shall not be ignored. 3. Materials: golden embroidered material, polished satin, jersey, tough or rough materials, etc. have used with materials of the Oriental traditional costume came into fashion. In pattern, the Orientalism trend is expressive of pattern by Chinese ink-spread technique, simple brush touch technique, cloud pattern, lotus flower pattern or dragon pattern, all of which feature the Oriental calm aesthetics or those motivated by the Oriental traditional patterns. 4. Detail: the techniques of handicrafts and manual arts such as meticulous embroidery, tassel or patchwork reflect well the Orientalism trend in the modem fashion.

• 복식
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• 제60권8호
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• pp.1-14
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• 2010

This study is a discussion of the expressive characteristics of contemporary fashion design with floral images. It aims to help understand the overall trends of contemporary fashion design and textile motif design and expand the potential expression fields of originative design to natural objects such as flowers. Methodologically the study analyzed 976 pieces of data gathered from Haute Couture and Pr$\hat{e}$t-$\grave{a}$-Porter collections of 2005S/S-2009F/W, according to their types of expression. The study results show a share of 42.7% for plane type expressions by printing or weaving and a share of 51.5% for relief type expressions, compared with 5.7% for solid type expressions. However, those expressions represented elegant femininity with emphasis on formative beauty and were applied to fashion accessories or hair adornments. The expressive characteristics found from the analysis were represented by natural images, feminine elegance, and decorative aesthetics of handicrafts. Flowers in the contemporary fashion purify the internal emotions of humankind stand for personality and beauty in many different ways of expression and serve as a means of expressing more artistic values breaking out of stereotype.