• 제목/요약/키워드: Leather industry

검색결과 93건 처리시간 0.02초

특성화 고등학교의 섬유·의류 전문 교과 교육과정 실태 분석 및 제안 (Analysis and Proposal of the Textiles and Clothing Curriculum in Vocational High Schools)

  • 이지수
    • 한국가정과교육학회지
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    • 제34권4호
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    • pp.113-129
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    • 2022
  • 본 연구는 특성화 고등학교의 섬유·의류 전문 교과 교육과정 중 의류 관련 학과의 교과목 개설 현황을 바탕으로 의류 관련 학과 교육과정 및 내용을 분석하고 제안하는 데 목적이 있다. 이를 위해 관련 자료와 문헌을 분석하고, 의류 관련 학과 전공 교사들을 대상으로 설문 조사 후 FGI를 실시하였다. 연구 결과는 다음과 같다. 첫째, 기초 과목으로는 '패션 디자인의 기초' 또는 '의복 구성의 기초'가 개설된 학교 수가 많았다. 이는 특성화 고등학교 의류 관련 학과에서 기술 교육이 우선시 되고 있음을 알 수 있고, 이를 통해 이론 교과목에 대한 보다 현실적이고 교육 가능한 부분에 대한 논의와 탐색이 이루어져야 한다는 점을 확인하였다. 둘째, 실무 과목에서도 기초 과목의 선택 결과와 비슷하게 2~3과목에 편중되어 개설된 현황을 살펴볼 수 있었다. 반면, 많은 기자재와 높은 기술력의 필요한 '니트 의류 생산' 교과목과 '가죽·모피 디자인 생산'의 교과목에 대해서는 교육부 차원에서의 교사 연구 기회 확대 및 기자재 확충 사업이 구성되기를 희망한다. 셋째, 실무 과목 내의 NCS 능력 단위 편제의 경우 실습 과정에서 교사와 학생이 수업을 진행하는 데 용이하거나, 각각의 학과에서 제시한 인력 양성 유형과 밀접한 능력 단위에 집중되어 있었다. 넷째, 의류 교사들의 설문과 FGI 결과를 바탕으로 학생들의 직업 탐색을 고려한 선택 기회를 확대할 수 있는 기술 교육이 진행되기 위한 산업체와 연계된 교사 연수와 기자재 및 실습 부자재 지원이 학교 발전에 기여할 수 있음을 제안하였다. 본 연구 결과는 차기 섬유·의류 전문 교육과정 편성을 위한 기초 자료를 제공함과 동시에 의류 관련 학과의 교과 교직 과목을 운영하고 있는 대학교에서 특성화 고등학교 현장 교육에 대한 이해를 돕기를 기대한다. 또한, 학생들에게는 전공 관련 교과목의 선택권을 확대함으로써 고교학점제가 시행되는 시점에서 의류과 관련 교과목 개발 및 안착에도 기여할 것이라 사료된다.

햄릿 공연을 위한 무대의상 디자인 (II) - 패턴 및 실물제작 - (Stage Costume Design for Performance Hamlet (II) - The Study on Pattern and Manufactured Product -)

  • 김순구;황성원
    • 한국의류산업학회지
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    • 제6권1호
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    • pp.41-50
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    • 2004
  • This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

A Case Study of Shanghai Tang: How to Build a Chinese Luxury Brand

  • Heine, Klaus;Phan, Michel
    • Asia Marketing Journal
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    • 제15권1호
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    • pp.1-22
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    • 2013
  • This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

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