• 한국의상디자인학회지
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• 제23권4호
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• pp.57-71
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• 2021

The purpose of the study is to derive an appropriate knitting method that can increase the appearance, wearability, and functionality through empirical research on the sleeve height knitting ratio of seamless knit wear. The study was conducted by producing seven types of experiment clothes according to knitting ratio to examine the characteristics according to the body armhole and sleeve height ratio. Specifically, after fit evaluatins, variance analysis (ANOVA) was performed to analyze the results of the evaluation, and the evaluated contents were converted into data. Among them, the items with significant results were intensively studied using the Duncan-test. The result showed that the height and the width of the sleeves vary depending on the knitting ratio. Test sweater A was the highest at 16cm, followed by test sweater B, test sweater C, test sweater D, test sweater E, test sweater F, and test sweater G at 4cm. The 1:1 ratio of test sweater A, was the highest, which is knitted in the same course as the body. The larger the difference in the ratio of body and sleeve, the lower the height of the sleeves. As a result of the appearance sensory evaluation, a significant difference was confirmed in the result values (p<0.001) from all items on the front, side, and rear. Specifically, the appearance of the test sweater B(2:4:2) on the front and test sweater C(2:4:3) on the side and rear side was the best. When the sleeves height is properly set, the ratio of the arm line to fit the design with a natural curve is analyzed as a very important factor. The results of this study are expected to be of practical use in product development and production that can increase the feeling when wearing and design satisfaction.

• 한국식생활문화학회지
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• 제25권5호
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• pp.568-577
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• 2010

This study was conducted to provide fundamental data for the Korean food service industry by researching the awareness and consumption tendencies of 180 domestic foreign residents towards Korean meat dishes. The results showed differences in the preferred types of food depending on gender; men tended to like meats, followed by stews, and rice, whereas women tended to like meats, followed by rice, and stew. The foreigners who participated in this research dined at Korean restaurants at least 20 times per month on average, regardless of their place of residence. Dishes with the lowest intake were suyuk (boiled meat, 66.7%) and dakbokkeumtang (sauteed chicken stew, 67.8%) and dishes with the highest intake tended to be roasts, which are relatively easier to prepare. The types of preferred food were in the order of galbi, bulgogi, and dakgalbi, and the least favored foods were yukgaejang, followed by suyuk, and seollengtang. "It is delicious" was the response found most frequently as a reason for preference regardless of the type of meat dish, and the reason for distaste was: "It is not delicious" This demonstrated that taste was the most important factor when visiting a Korean restaurant. Unexpectedly, sirloin roast, beef galbi stew, chicken stew, samgyetang, and dakbokumtang were not favored because of unfamiliar aroma and taste. In the case of galbi, "It is not very sanitary" was the main factor in responses. For areas of improvement, food sanitation, meat smells left on clothes, and smoke generated during roasting were factors with a high degree of importance, whereas the use of gas burners and the blackening of bowls were found to have a lower degree of importance.

• 복식문화연구
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• 제31권1호
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• pp.124-140
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• 2023

This study analyzes traditional women's Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the "moment" theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.

• 복식
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• 제39권
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• pp.113-123
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• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• 복식
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• 제17권
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

• 한국가정과교육학회지
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• 제17권3호
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• pp.97-108
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• 2005

본 연구에서는 초등학생의 자아존중감과 의복행동에 대한 일반적인 경향을 살펴보고, 인구 사회학적 특성과 자아존중감 수준에 따라 의복행동에 차이가 있는지 비교해 보고, 자아존중감과 의복행동과의 관계를 분석하였다. 이를 통하여 초등학생의 의복행동을 이해하구 초등학생에게 바람직한 의생활 교육을 시행하는데 필요한 기초 자료를 제공하고자 하였다. 경기도 수원시에 위치한 초등학교 5, 6학년에 재학 중인 남녀 학생 403명을 대상으로 설문조사를 실시하였으며, 본 연구의 결과를 요약하면 다음과 같다. 첫째, 초등학생의 자아존중감과 전체적인 의복행동은 중간 수준으로 나타났다. 의복행동의 하위 요인을 살펴보면 초등학생은 의복자림성이 가장 높게 나타났고 의복편이성, 의복관리성, 의복흥미성, 의복동조성의 순으로 나타났다. 둘째, 초등학생의 인구 사회학적 특성과 자아존중감 수준에 따른 의복행동의 차이를 살펴보면 여학생은 남학생보다 의복동조성, 의복흥미성, 의복관리성이 높게 나타났고 남학생은 여학생보다 의복편이성이 높게 나타났다. 5학년은 6학년보다 의복관리성이 높게, 의복자립성은 낮게 나타났다. 한달 용돈이 2만원 이상인 집단은 다른 집단에 비해 의복동조성, 의복흥미성이 높게, 의복편이성은 낮게 나타났다. 어머니의 직업이 없는 경우는 직업이 있는 경우보다 의복흥미성이 높게 나타났다. 또한 자아존중감 수준이 높을수록 의복관리성은 높게 나타났다. 셋째, 초등학생의 자아존중감은 의복관리성과 정적 상관관계가 있는 것으로 나타났다. 즉 자아존중감이 높을수록 의복을 잘 관리할 수 있다.

• 한국가정과교육학회지
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• 제24권1호
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• pp.37-48
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• 2012

본 연구는 청소년의 환경친화적 의복 소비행동에 영향을 미치는 변수들을 파악하여, 환경친화적 의복 구매, 사용, 처분행동을 유도하기 위한 교육적 자료를 제공하는데 목적이 있다. 연구 결과는 다음과 같다. 첫째, 청소년의 환경활동 경험은 보통 이상이며, 환경활동 경험 중 환경문제에 대한 교육을 받은 경험이 가장 낮게 나타났다. 둘째, 환경친화적 가치관 중 환경보전 가치관이 가장 높게, 이타주의 가치관이 가장 낮게 나타났다. 셋째, 의복을 통하여 개성을 추구하고자 하는 욕구가 가장 크고 다음으로 편안함과 가격을 추구했으며, 유행과 브랜드를 추구하는 성향은 낮은 것으로 나타났다. 넷째, 환경친화적 의복 소비의식 중 처분의식은 보통 이상이나 구매의식과 환경문제 인식은 보통 이하로 낮게 나타났다. 특히 의복이 유발하는 환경문제에 대한 인식이 가장 낮은 점을 감안해 의복의 생산과 소비과정에서의 환경오염과 이를 예방할 수 있는 방안에 대한 교육이 필요하다. 다섯째, 환경친화적으로 의복을 소비하는 행동은 전체적으로 낮게 나타났다. 하위요인 중 사용과 처분 행동은 어느 정도 실행되나 구매 행동은 환경친화적으로 이루어지지 못하고 있었다. 이는 그동안의 환경교육이 주로 자원 절약과 재활용 등 사용 및 처분행동에 초점을 맞추어 진행되었기 때문으로 생각되며, 따라서 앞으로는 소비의 시작인 의복의 구매단계에서 환경친화적인 소비행동을 할 수 있도록 교육해야 할 것이다. 여섯째, 청소년의 환경친화적 의복 소비행동에 영향을 미치는 변수 중 가격 추구 성향과 의복 처분의식은 의복 구매 사용 처분의 모든 의복 소비행동에 영향을 미치는 것으로 나타났다.

• 복식
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• 제18권
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• pp.111-131
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• 1992

This thesis was designed to study Symbolics of Chinese Liturgical Vestments. Chinese who regarded the life of human beings as the combination of heaven and earth considered garments as the traditional product of the movement of nature. Accordingly, they thought human beings are the center of the universe composed by heaven and earth and the chief of all things; therefore man only can utilize clothes to distinguish from all of the colours. This views of clothes led to the development of liturgical vestments esteemed courtesy than anything else, especially the thought of courtesy associated with Conficius who regarded courtesy as the highest things and since then the theory of Five Elements and courtesy were inherited by all the adherents of Conficius. Yin and Yang Five Elements in the liturgical vestments was given absolute symbolics in both formative side and in colourful side. results of research studied in this was can be summed up as follows : 1. The crown of rites was made imitating after the system of head, horn, beard, bread of birds and beasts and that form of crown is front-circ-ular and back-rectangular meant to be towards light and dark. That the upper part of faceplace is black represented the way of heaven and lower part of red symbolized the way of earth. 2. Upper vestment of liturgical rites symbolizes heaven and outskirt represented earth. So front of outskirt is YANG and back is Yin. It is why then are going to harmonize positive and negative making front part three width and back part four width. Therefore, emperor who symbolizes heaven made the subjects recognize high and low and wore Dae-gu(大 ), Kon-bok(袞服), Bel-bok, Chui-bok, and Hyonbok according to the object and position of rites so that he may rule the country based on courtesy. 3. As an accessory of liturgical vestments, Bul, Pae-ok, Su, Dae-dai, Hyok-Dai, Kyu, and Hol were used. Before Bul was used man dressed skirt as the first waist-dress in order to conceal intimate part of the body. Pae-ok, as decoration blended with jade was worn by men of virtue, so men of virtue symbolized morality and virtue by Pae-ok. Su began from Yeok, connected with Pae-su , in Chou-dynasty is said to be originated by practical needs and they are divided into large Su and small su, and maintained as decoration to signify the class positions. Dae-dai did the work as not to loose the liturgical vestments and leather belt hang Bul and Su to begin as the function of practical use are in later years it became decoration to symboliz e the class position. Kyu was a jade used when empeor nominated feudal lords and observe ceremony to God and Hol, was held in hands to record everything not to forget. These Kyu and Hol became to offer courtesy during the time of rites and in later years it became used according to class position rather than practical use. 4. As far as colours are concerned, colours based by five colours according to YIN-YANG Five Elements theory and they were divided into a primary colour and a secondary colours. Primary colours corresponded with the theory of Five Elements each other, Blue, Red, Tellow, White, and Black symbolized ive Elements, five hour space, five directions, and five emperors. Secondary colours contradict with Blue, Red, Yellow, White and Black and another as a primary colour and they are Green, Scaret, Indigo, Violet, Hun colour, Chu colour, and Chi colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour as primary colour and outskirt was used Hun colour as secondary colours. Thus symbolism in chinese liturgical vestments mainly began with heaven and earth and corresponded with YIN-YANG Five Elements Scool. They were developed as the scholary theory and Conficius and his followers in the later days and continued up to Min-dynasty.

• 농약과학회지
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• 제18권4호
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• pp.247-257
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• 2014

수박 시설 재배에서 acetamiprid 수화제의 살포액 조제 및 살포 시 농작업자의 피부 및 호흡 노출량을 측정하였다. 국내 최초로 피부 노출은 전신노출법을 이용하였으며, 폴리에스테르와 면이 함유된 겉작업복과 면으로 된 내복을 사용하여 측정하였다. 손 노출은 nitrile 장갑을 끼고 조제/살포 후 장갑 및 손을 세척하여 측정하였고, 머리의 노출은 세척액으로 적신 거즈로 얼굴/목을 닦아서 측정하였다. 호흡 노출은 개인용 공기펌프와 IOM sampler (glass fiber filter)를 작업자 어깨에 고정하여 2 L/min으로 공기를 포집하여 측정하였다. 분석법의 정량한계는 2.5 ng/mL이었고, 각 노출 시료의 matrix matched 표준용액의 직선성은 0.99 이상이었다. 재현성은 C.V 8.7% 이하였으며, 각 노출시료의 회수율은 70~119%, 포장회수율은 77~95%이었다. 조제 시 손 노출량($229.7{\mu}g$)이 살포시 노출량($20.9{\mu}g$)의 10배 이상의 결과를 보였다. 살포시 전체 피부 노출량은 $1207.4{\mu}g$이었고, 이 중 정강이의 노출량은 $1132.1{\mu}g$로 전체의 93.8 %를 차지하였다. 호흡 노출량은 조제 및 살포 시 모두 검출되지 않았다. 위해성평가를 위한 MOS는 한국 남자 평균 체중(70 kg)과 농작업자 노출 허용량($124{\mu}g/kg/day$)을 고려하여 산정하였다. MOS 값 산출결과, 100이상으로 위해성이 낮음을 확인하였다.

• 농촌의학ㆍ지역보건
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• 제25권2호
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• pp.245-263
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• 2000

본 연구는 자기기입식 설문조사를 통해 농약살포를 대부분 담당하는 남성 농민들에 대하여, 농부증을 포함한 만성증상과 농약살포시의 이상증상경험, 이상증상 경험시 살포한 농약, 농약살포시의 안전수칙 준수, 보호구의 착용실태, 가족 중 농약으로 인한 사고경험을 조사하고, 농약노출과 연관된 변수들간의 연관성, 급성중독경험 및 만성증상과 관련된 요인을 고찰하였다. 만성증상으로는 '몸이 나른하고 힘이 없다', '허리가 아프다'. '밤중에 소변을 보기 위해 깬다' 등의 증상이 많았으며, 농약살포 시의 임상증상 경험율은 '피부발진/가려움증', '어지러움/두통'의 경우가 가장 높은 것으로 조사되었다. 또한, 조사 대상자의 7.1%가 가족중 농약으로 인한 사고경험이 있는 것으로 조사되었으며, 이중 농약살포시 중독, 안전사고 및 자살사례를 확인할 수 있었다. 농약살포 시의 준수사항 중, '뿌린 후 목욕을 한다'와 '뿌린 후 바로 옷을 갈아입는다' 등의 경우가 준수율이 높았으나, '보호구를 잘 세탁해서 보관한다', '뿌린 후 용변을 볼 경우 손을 씻는다', '한낮에는 뿌리지 않는다' 등의 경우는 낮은 준수율을 보였다. 농약살포시 보호구는 '물에 타서 살포할 경우', '입제를 살포할 경우'에 비해 보호구를 더 잘 착용하였으며, 착용율은 모자, 장화, 마스크, 장갑, 방제복 하의의 순이었다. 농약살포시 이상증상경험과 관련된 요인은 농약살포시 준수사항 준수, 살포시간, 과수재배, 경작면적, 연간 농약살포일 등이었으며, 농민의 만성증상과 관련된 관련된 요인은 농약살포시 이상증상 경험, 경작면적, 농사경력, 농약살포시 준수사항 준수, 전업여부, 농약에 대한 노출 등이었다. 본 연구결과를 통해 농약살포시 준수사항의 준수율과 보호구 착용율을 높이며 농약으로 인한 안전사고를 방지하기 위한 체제적인 교육 및 홍보가 필요함을 알 수 있다. 또한, 농약에 대한 노출이 농민의 만성증상의 한 원인이라는 결론을 내리기는 어려우나, 원인적 연관성일 가능성을 배재할 수는 없을 것으로 생각되며, 따라서, 농약노출을 정확히 산출하고, 좀더 명확한 건강영향의 생물학적 지표(biological marker)를 측정하여 이들의 연관성을 고찰하는 연구가 이루어져야 할 것으로 생각된다.