• 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.

• 대한안전경영과학회지
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• 제8권3호
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• pp.115-123
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• 2006

The main focus of this study is to investigate the performance of a clark-scarf type multi-echelon serial supply chain operating with a base-stock policy and to optimize the inventory levels in the supply chains so as to minimize the systemwide total inventory cost, comprising holding and backorder costs as all the nodes in the supply chain. The source of supply of raw materials to the most upstream node, namely supplier, is assumed to have an infinite raw material availability. Retailer faces random customer demand, which is assumed to be stationary and normally distributed. If the demand exceeds on-hand inventory, the excess demand is backlogged. Using the echelon stock and demand quantile concepts and an efficient simulation technique, we derive near optimal inventory policy. Additionally we discuss the derived results through the extensive experiments for different supply chain settings.

• 복식문화연구
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• 제12권5호
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• pp.859-879
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• 2004

As a result of research, the characteristics of the general costumes from the king Young-Cho period to the king Jung-Cho period in Genre Paintings of Mung-Hyun Oho, Yong Yun, In-Sang Lee, Hee-Eon Kang follows. First, the typical man wore his hair in a topknot(sangtu), and put on 'Bung-gu-ji', 'Lip', or a scarf on his head. The length of the 'Jeogori'(Korean traditional jacket) was long enough to cover the waist. Dress for work had side slits, and had half length sleeve Jeogori, and short pants looked like 'Jam-bang-i'. They went barefoot and wore 'Jipsin'(Korean traditional straw shoes). Dress for outdoor was 'Po' that knot at front of chest by band. 'Baji'(slacks) were with knot below knee, worn 'Hang-jun'(ankle band) and the width of slacks was suitable. They were 'Beoseon'(Korean traditional socks) and shoes. Second those in the upperc1ass and those in the military put on 'Mang-geon', 'Gat', 'Sa-bang-gan', 'Tang-geon', 'Bok-geon' on their head on a topknot. Most of them wore 'So-chang-i', 'Jung-chi-mag' or 'Do-po'. The length of Jeogori covered the waist or the hip and were tied with 'Go-rum'(ribbon). Baji was tied with Hang-jun and 'Dae-nim'. The waist of the slacks were tied with a dark colored waist-band and folded down their waist of slacks. They wore white color Beoseon and 'Hye' or dark color leather shoes. They wore 'Sup'(assistant of arm) for bow. It showed the lifestyle of the 18C with fan, 'Be-ru', 'Mug', 'Yun-jug', teacup, pot, etc. Third, child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line, Git of Jeogori was 'Dunggurai-Kit'(shape of round) and other style Jeogori, which reached the hip line, had side-slit. Baji was tied with Dae-nim, and the width of the slacks is suitable. They hang 'Yum-nang'(Pocket). Final, most women worked outdoors wearing their hair in a high twisted style, or covered it with scarf. They wore Jeogori and 'Chima'(Korean traditional skirts), Bagi. They folded up the sleeves of the Jeogori. And they folded the 'Jambang-i-styled' pants to just above the knees, fastening at the waist. When they wore skirts, they also wore underpants under the skirt that went down to the knees. Most of them went barefoot and wore straw shoes, Jipsin. Through genre paintings, we can understand the ways and forms of our ancestor's clothing. And with our understanding, interest, and passion, we can be familiar with Hanbok in our daily life by succeeding and creating its peculiar style. And then we can promote the globalization of Hanbok.

• Composites Research
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• 제31권1호
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• pp.1-7
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• 2018

히트블랑켓을 이용한 통상의 복합재 패치 수리의 경우, 진공백만을 이용하여 접착제에 압력을 가하게 된다. 그러나 본 연구에서는 진공백 위에 다시 공기압을 추가로 가할 수 있는 가압장치를 개발하였다. 개발된 가압장치의 성능을 검증하기 위해 탄소섬유 복합재 적층판을 스카프 패치로 수리하고 인장시험을 수행하여, 결함이 없는 온전한 구조물과의 강도를 비교하였다. 또한 비교를 위해 오토클레이브를 사용하여 패치를 접착한 동일한 형상의 시편에 대한 인장시험도 같이 수행하였다. 시험 결과 외부압력 없이 히트블랑켓과 진공만으로 수리한 시편, 개발된 가압장치로 1 기압을 추가로 가하여 수리한 시편, 그리고 오토클레이브에서 동일한 외부압력을 가하면서 수리한 시편의 인장강도 회복율은 각각 74.9, 81.0, 78.2%로 나타났다. 수분을 포화시킨 시편에 대한 인장강도 시험과 상온건조 인장 피로시험의 결과에서도, 개발된 가압장치를 이용해 1 기압 외부압력으로 제작한 시편은 오토클레이브로 제작한 시편과 동일한 수준 이상의 강도를 보이는 것을 확인하였다.

• 대한족부족관절학회지
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• 제15권2호
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• pp.68-71
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• 2011

Purpose: To analyze relation between age or parameters measured before operation and cartilage erosion of the first metatarsal head measured during operation. Materials and Methods: The study was targeted at 56 patients and 79 feet, who underwent Scarf osteotomy or Scarf and Akin osteotomy from November 2009 through November 2010, and whose cartilage lesion of the first metatarsal head referred to the cartilage grade III or IV of the International Cartilage Repair Society. The measurement parameters were age, hallux valgus angle, intermetatarsal angle (1~2), tibial sesamoid position, proximal articular set angle and distal articular set angle. The cartilage erosion of the first metatarsal head was measured by one surgeon using cellophane. Occupancy rate and frequent involved sites of the cartilage erosion were recorded using Auto$CAD^{(R)}$ and adobe Illustrator CS4 program. SPSS correlation test and T-test were used for statistical analysis of the parameters and the cartilage erosion. Results: The cartilage erosion was incurred frequently in the sagittal groove and the site where subluxation or dislocation of the tibial sesamoild bone occurred but frequent involved sites had no statistical significance with cartilage erosion. The age showed a statistical significance with the cartilage erosion in the correlation test (p=0.003). Especially, the group of over 51 year old patients was turned out to have association with the cartilage erosion, compared to the group of below 51 (p=0.007). But, hallux valgus angle, intermetatarsal angle (1~2), tibial sesamoid position, proximal articular set angle and distal articular set angle were no statistical significance with the cartilage erosion. Conclusion: We found the more the age of patients increased (especially above 51), the more cartilage erosion increased. And it is thought that we pay attention to reduce tibial sesamoid bone.

• 한국의상디자인학회지
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• 제8권1호
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• pp.81-96
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• 2006

This study aimed to investigate the sociocultural phenomena which affected to clothing change in 1650-1900 and to examine the features of men's necktie in the western art. For this study, information about historic neckwear is obtained from the visual evidence of painted or engraved portraits, contemporary written sources. The covered area of this study was Europe mainly England and France. For this process, research steps were as follows : 1. Investigating the sociocultural phenomena which affect to clothing change through 1650-1900 and analysis of men's clothing and appearance. 2. Finding the changing characteristics of neckties including it's different types, shapes, knots, colors and materials and analyzing similarities and differences of neckties by the times. 3. Examining necktie as one of important and representative icons of male gender identity. The results of the study was as follows: 1. In 1660-1900, men's fashion was simplified in color and detail due to the influence of practical Puritanism and matured civil culture. And British men's fashion spreaded throughout whole European countries and get popularity. 2. In 1650-1720, there were band, cravat and steinkirk. And expecially cravatier, a expert custodian of cravats, was appeared in that period. In 1720-1800, there were stock, solitaire and cravat. In 1800-1850, neckwear were popularized and got various sizes and types up to shape and size of chemise collars. Black stock, scarf cravat and shawl cravat were popular and terms of 'necktie' were used for an certain neckcloth shape. And abundant literature for necktie were published thanks to the development of printing technology in that period. In 1851-1900, the leady-made neckties were spreaded and there were changes in shape, length, knot of necktie up to V-zone formed with shirt's collars and vest types. Neckwear was gradually evolving through four distinct styles, bow tie, scarf or neckerchief, Ascot and four-in-hand. 3. After the mid-l7th Century, as civil culture matured and splendid and extravagant colorful men's wear disappeared, British men's fashion spreaded throughout whole European countries and got popularity. The necktie become an essential ornamental accessory of men's fashion and one of important and representative icons of male gender identity.

• 한국전산구조공학회논문집
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• 제30권6호
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• pp.531-539
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• 2017

전통적인 FRP 선체 제작에는 mould가 요구되며, mould의 높은 제작비용은 FRP 선박 제작자에게 비용부담을 주고 있다. 이를 극복하기 위한 방안으로 강선 건조에서 사용되는 블록 혹은 모듈 방식의 제작기법에 착안한 modular construction 방안이 제시되었다. 이 제작방안을 FRP 선체에 효율적으로 적용하기 위해서는 설계 및 제작 측면에서 간략하면서도 구조적 안정성을 갖는 접합 이음부 개발이 이루어져야 한다. 따라서, 본 논문에서는 모듈방식의 FRP 선체 제작을 위해 moulding-in 개념을 기반으로 한 경제적인 접합 이음부 개발에 관한 연구를 수행하였다. FRP 샌드위치 판을 대상으로 step, scarf-step 그리고 scarf 이음부 형상을 갖는 moulded-in을 수지주입식진공성형 공정에 도입하여 성공적으로 접합된 FRP 샌드위치 판을 제작하였다. 이에 대해 구조적 안정성 평가를 목적으로 인장 및 4점 굽힘 시험 그리고 유한요소해석을 수행하였다. 시험과 해석결과에 대한 비교 연구를 통해 본 연구에서 개발된 접합 이음 내용이 모듈방식의 FRP 선체 제작에 적용 가능함을 확인할 수 있었다.

• 대한족부족관절학회지
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• 제16권1호
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• pp.47-52
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• 2012

Purpose: The purpose of this study is to evaluate the effect of axial shortening metatarsal osteotomy on the treatment of advanced rheumatoid arthritis patients with severe hallux valgus and claw toe deformity of lesser toes which is used for preserving the metatarsophalangeal joint. Materials and Methods: From January 2005 to June 2009, 18 cases of axial shortening metatarsal osteotomy in advanced rheumatoid arthritis were reviewed ; all of them followed up for more than 2 years after surgical procedures and the mean follow up period was 3.4 years. We performed axial shortening Scarf osteotomy and Akin osteotomy for hallux valgus and Weil osteotomy with soft tissue release for claw toe of lesser toes, respectively. We measured preoperative and postoperative hallux valgus angle, each metatarsal shortening length and the range of motion of the metatarsophalangeal joints through radiographic and clinical examination and compared them each other. Clinical results were evaluated by American Orthopedic Foot and Ankle Society (AOFAS) score and subjective satisfaction of the patients. Results: The hallux valgus angle was reduced from the preoperative mean value of 44.8 degree to 9.0 degree postoperatively and the range of motion of the metatarsophalangeal joint of great toe and lesser toes was increased from the mean of 21.7 degree and 11.0 degree preoperatively to 38.0 degree and 32.5 degree, respectively at postoperation. Also, the mean AOFAS score was improved from 26.5 points to 67.4 points. Conclusion: Axial shortening osteotomy is a useful method to correct the deformity and preserve the metatarsophalangeal joint for severe hallux valgus and claw toe deformity in advanced rheumatoid arthritis.

• 한국의류산업학회지
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• 제9권6호
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• pp.603-612
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• 2007

Giorgio Armani has made a huge success with his own persistent unique fashion styles for the last 30 years. But he too went through a transitional period during which he was criticized for lacking the so-called Armani design. Overcoming the confusion, however, he succeeded in recreating his styles of elegant image and fascinating people with his practical and yet sophisticated modern classical styles that he pioneered. The design characteristics of his men's clothing are as follows; functional and comfortable slim silhouettes that bring life to the curves of the human body, grey-based mixed colors in a natural atmosphere, natural materials such as wool, silk, and cashmere that are light and soft and have great drape properties with femininity, solid patterns with stripes, checks, and geometrical figures added, and the elegance expressed in moderate decorations such as a handkerchief and scarf. Armani men's clothing has enjoyed ongoing popularity and success across the world because it transcends time and allows men to maintain their class not being bound by the formality. It's also important to notice that Armani takes into account the perspectives of both men who wear his clothes and women who look at the men in his clothes.

• 복식문화연구
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• 제19권6호
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• pp.1334-1346
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• 2011

This study focused on the beoseon, traditional Korean socks that are a fashion item showcasing the beauty of the round hanbok shape. The study utilized the beoseon as an influential design motif and suggested 24 cultural fashion items to which the beoseon can be applied, including neckties, scarves, and T-shirts. For the purposes of this study, Adobe Illustrator CS3 and Adobe Photoshop CS3 were used for the motif design as well as the literature review on traditional beoseon socks. For the basic design motif, two basic forms were taken from the collection of the National Folk Museum of Korea. The key point of the motif development is that it maintains the basic shape of the beoseon but highlights the attractiveness of the Korean image by using repetition, rotation, symmetry and overlap into a new image pattern so that modern and chic images were taken into consideration for each cultural product. For the necktie, the mixed or repeated patterns for each motif were used as is. Alternatively, an oblique line pattern was adopted to express a stable and stylish image. For the T-shirt, a round-neck sleeveless type was designed. T-shirts were unified in the white color to highlight the image from the pattern. For the scarf, two shapes were displayed, square and rectangle. Through mixture of two repeated variation unit patterns for each motif, a splendid and stylish image was revealed along with various layouts.