• 한국의상디자인학회지
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• 제10권3호
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• pp.1-13
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• 2008

The purpose of this research is to study the cause of obstruction in various knit pattern structures by understanding the needs of the customers, and to develop knitted fabric goods that satisfy the individual taste of consumers and that reflecting the latest fashions. Actual conditions of the manufacturer's designing processes must be examined. In addition, a comparison analysis of fashion sensibilities and preferences between producers and consumers had been made in order to study developing knit pattern structures. Questionnaires and interviews had been used as research methods. The research involved two groups: one group consisted of 57 producers, which included designers, programmers, and merchandisers working for a knit manufacturer in Seoul, while the other group consisted of 74 consumers, which included students with knitted fabric design as their major and those who have working knowledge of knitted fabrics. For a more accurate evaluation, 28 out of 150 patterns have been selected through a preliminary study conducted by 24 designers. On the 28 knit patterns, a sensibility evaluation had been made through the use of the sense of sight and sense of touch, which was followed by a frequency analysis, cluster analysis, and t-test using SPSS 12.0. The results are as follows: the fashion sensibility evaluation on knit patterns showed that structures, such as racking II or lace II, are typically elegant ('elegance'), while structures, such as links I or racking I, are typically 'active.' Furthermore, a 'country' image was displayed in structures such as cable I, cable II, and miss II. Links I appeared as 'sophisticated'. Miss I and milano were said to have 'modem' images. Lace II was regarded as 'ethnic', while racking II was said to have a 'romantic' image. 2:1 rib and milano were generally thought to be manly ('manish'). The fashion sensibility scale for each knit pattern has been made based on the above results. Based on producer and consumer responses, the sensibility evaluation on knit pattern structures showed that the two groups had similar preferences in knit pattern structures. Therefore, the fashion sensibility scale developed in this study can be used as a basic data for structure development when designing knitted fabric goods.

• 감성과학
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• 제21권1호
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• pp.155-164
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• 2018

온도감은 촉각과 시각에 의해서 느낄 수 있는 감각이다. 하지만 온도감에 대한 개념을 시각적 온도감과 촉각적 온도감의 개념을 함께 활용되는 경우는 드물다. 이 연구에서는 촉각을 통해 느끼는 온도감과 시각을 통해 느끼는 온도감에 대해 색채와 재질 특성에 따른 시각적 온도감의 관계를 알아보았다. 색채와 재질의 특성을 포함할 수 있는 샘플로 원단을 선택하였다. 15-16가지 종류로 Y계열, R계열, B계열, G계열 총 61개의 샘플로 실험을 진행하였다. 분석 방법은 Yellow, Red, Blue, Green의 색을 떠올렸을 때 느끼는 색에 대한 온도감을 분석한 뒤 각 색상별로 원단의 촉각적 분류 및 시각적 분류에 따른 시각적 온도감에 대해 알아보았다. 그리고 무게, 두께, 요철에 따른 시각적 온도감의 상관관계를 알아보았다. 그 결과 동일한 원단에서는 색 온도감에 따라 Cool과 Warm으로 느끼는 원단의 수가 차이가 났다. 그렇지만 원단의 분류마다 시각적 온도감은 다르게 나타났다. 특히, 얇은, 비치는 원단과 무광택 원단에서 두드러지게 나타났다. 무게, 두께, 요철과 온도감의 관계에서는 무게와 관련을 보인 원단 분류는 딱딱한, 무광택 원단의 분류이며, 두께와 관련을 보인 원단 분류는 얇은, 비치는 원단이다.

• 디자인학연구
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• 제13권
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• pp.153-162
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• 1996

최근의 경제성장과 아울러 우리의 주거 공간이 보다 더 확장되어 가는 추세에 있다. 따라서 PAC (PACKAGE AIR CONDITIONER) 가 종래에는 주로 업소 설치용으로 판매되었으나 최근에는 하절기 상품으로써 생활수준의 향상과 함께 업소용에서 가정용으로 옮겨가는 상태에 있다고 볼 수 있다. PAC는 최근의 기후 온난화 현상에도 영향을 받아 날로 그 수요가 늘어나고 있으며 필수품 화되어 가는 추세에 있다. 본 연구는 국내에 대표적인 가전 업체인 (주)금성사에서 추진 개발되었던 PAC의 제품개발과 DESIGN PROCESS에 대한 사례 연구로서 기업에서의 제품개발과 디자인이 어떠한 연구와 과정을 통해 이루어지는가에 대해 고찰에 보았으며 이러한 연구과정을 토대로 조형화(가사 화) 시키는데 역점을 두었다. 예컨대 우선 하절기 상품인 만큼 기후에 따른 한국인의 체질과 그 특수성을 알아보았으며 고객 환경으로써 PAC의 표적고객을 설정하여 그 수요를 예측해 보았다. 고객 환경으로써 PAC의 표적고객을 설정하여 그 수요를 예측해 보았다. 그리고 PAC와 직접적인 관계가 있는 주거환경으로써 APT 거주지의 거실에서의 행위를 분석하였으며 아울러 거실의 전반적인 INTERIOR IMAGE를 분석하여 PAC의 조형화 작업에 일조를 하였다. 실질적인 조형화 작업에 있어서는 DESIGN CONCEPT을 고객환경, 주거환경, 제품 환경으로 나누어 다음과 같이 추진하였다. 첫째. 성 SPACE화로써 설치공간의 극소화 및 시각적 개방 감을 유도하는 NEW SHAPE(ROUND SLIM)을 구현하였고 둘째. INTERIOR화로써 거실의 분위기와 조화되는 제품의 고급 감을 표출하였다. 셋째. HIGH-TOUCH화로 사용자의 감성을 자극하는 SHAPE 및 표면 처리에 역점을 두었고 넷째로, HI-QUALITY화로써 전자제품에서 보여지는 TECHNOLOGY IMAGE의 과감한 도입적용을 시도하였다.

• 한국의류학회지
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• 제33권11호
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• pp.1733-1743
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• 2009

The LOHAS trend is based on a present and future culture with a sustainable influence on the life of modem humans. This study examines the LOHAS trend to create a design that is practical and reflects a notion of LOHAS in quality. Design making is selected with three sub-themes under the concept 'With Us, Nature & High Touch' and the dress design that is suitable to the type and purpose of the parties following the concept. Theme A, "Neo-Classicism" is for a reception party. It made efficient use of 'Type of environmentally friendly material practical use + Type of multi-function design + Type of order production + Type of society morals design'. Theme B, "Between Virtual & Reality" is for a wedding reception. It made efficient use of 'Type of environmentally friendly material practical use + Type of multifunction design + Type of retrenchment design + Type of order production + Type of society morals design'. Theme C, "Arty Illusion" is for a cocktail party. It made efficient use of 'Type of Re-design + Type of nature motive practical use + Type of the higher sensitivity pursuit design + Type of order production + Type of society morals design'. This study explained that nature, environment, and a sense about society are put to practical use in fashion design through the creation of a fashion design to apply a LOHAS fashion design notion and a special quality.

• 만화애니메이션 연구
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• 통권37호
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• pp.463-489
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• 2014

그에게 쏟아진 거의 만장일치에 가까운 찬사에도 불구하고, 연상호의 애니메이션 작품세계에 대한 본격적인 논의는 아직 제대로 된 형태를 갖추지 못하고 있다. 산발적인 몇몇 리뷰들을 제외하면 진지한 접근의 시도를 찾아보기 힘든 상황인 것이다. 이 깊은 골을 메우려는 시도로서 본 논문은 그의 작품들이 의미 있는 전체(oeuvre)로 간주되어야 한다고 주장한다. 그의 두 장편 애니메이션인 <돼지의 왕>과 <사이비>에 집중하되, 그들이 그의 단편 작품들과 맺는 미묘한 관계들에도 주목하면서, 나는 그의 작품이 현대 한국사회와의 관계 속에서 얼마나 '급진적'인지, 혹은- radical이라는 말의 어원 그대로 '뿌리'에 닿는다는 의미에서- '근원적'인 지를 보여줄 것이다. 두 작품 간의 연속성을 우회하거나 제대로 논의하지 않는 일반적인 독해들과 달리, 나는 그 둘이 주목할 만한 차이들에도 불구하고 공명하는 독특한 방식에 주목하려 한다. 단도직입적으로 말해 서사의 중심에서 그의 작품들은 '연대(solidarity)'의 문제, 보다 정확하게 말해 '비참한 이들(abjected people) 간의 연대의 결핍/과잉'이라는 문제를 중심으로 회전한다. 나아가, 어쩌면 더욱 중요하게도, 나는 어쩌면 그저 주제적 차원이라 할 수 있을 이러한 문제들이 그의 애니메이션 작품들 속에서, 내가 '바닥없는 표면/표면의 심연(abyssal surface)'이라 이름붙인 형식적 차원으로 표면화되고 있는 지를 드러낼 것이다. 서사는 훌륭하나 '애니메이션' 작품으로서의 정체성을 인정하기는 어렵다는 식의, 상찬을 가장한 비난- 혹은 오독-과 달리, 나는 연상호의 작품들이 '비참한 이들' 간에 드러나는 신뢰의 결핍/과잉을 애니메이션으로서, 즉 그 뒤에 서로에 대한 '바닥없는 불신/신뢰'가 숨어있는 불길하고 피상적인 표면을 육화한다고 주장할 것이다. 연상호의 애니메이션은 정확하게 이런 중의적인 의미에서, 즉 주제적인 차원에서의 사회의 뿌리와 표현 양식 차원에서의 애니메이션의 근본을 건드린다는 이중적인 의미에서 근본적(radical)이다.

• International Journal of Costume and Fashion
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• 제7권1호
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• pp.22-31
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• 2007

The systematic study of the future began with curiosity and imagination about the future; a unique trait of human mental effort-and this seems to be based on the idea that the future can be different depending on current choices or effort. In this sense, it would be seemly to encourage more interest and academic study on the progress of future fashion. In this study, we examine recent changes of fashion material; e.g. that which science and technology have more impact and importance in futuristic fashion since the 1990�s. The period analysed is from the1990's to the present and related data from recent fashion collections and fashion books has also been included The current prediction of the future is largely based on what was formed between the 19th Century and the 20th Century which has persisted until now and has been influenced by the view that science will play a bigger role in the future. This is especially reflected in fashion which chiefly represents material culture. New materials used for fashion are strong and permanently durable, in addition to being very light, thin, flexible, hygienic, ecological and comfortable to wear-almost like a second skin. These fashionable new materials roughly function in two different ways according to external and internal characteristics. First, they cause external change. Second, they exemplify or allow new functions. Examples of external change are the use of silver color, achromatic color, metallic material, smooth-to-the-touch shiny material and the use of luminous material. Examples of the extended function of clothing through the use of new materials are the use of conducting thread, the use of special material for blocking & opening and the use of material which changes colors as the surroundings change. These days, the use of new material which changes its appearance is a novelty unique to the fashion world but we also expect to witness the debut of diverse new materials with extended inner functions.

• 복식
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• 제57권8호
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• pp.75-88
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• 2007

Nowadays, geometrical form expressed on costume is recognizing as a part of modeling art, at the same time is working to develop it. Also the geometrical form is affording the coinciding lifestyle and sensitivity of customers keeping their pace. As a result, our study is researching on the geometrical form that is used in the pattern, silhouette, and detail of the costume to show the texture in sense of touch and the effect of optical illusion used in variable designs, in order to present the expansion our capability of infinite development included in the study of costume. Specially, geometrical form included in sports wear is very effective since the geometrical form includes short and simple beauty as well as practical design. Thus, this study is wishing to know if satisfying the practical and psychological urge of present human beings may be applied to the golf wear market, which is a type of sport that geometrical form is sent in the fastest way in domestic market. Also we are urged to know what type of design technique is the geometrical form nowadays used and changed to discriminate the artificial commerce and improve the identity of such unique brand. The source of this thesis is wishing to investigate the specialization and the most effective geometrical shape and preference of each type in domestic golf wear goods that applied geometrical goods in $2002{\sim}2006$ and analyze its way of expression.

• 복식
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• 제65권1호
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• pp.89-103
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• 2015

The purpose of this study is to design fashion-cultural products by reviewing the symbolism in Changseung and Sotdae, which are folk belief sculptures. This study was performed by literature reviews of Changseung and Sotdae in order to look into the characteristics of folk belief and traditional culture, and the designs were developed from the symbolism extracted from Changseung and Sotdae with photoshop CS5 and illustrator CS5. The Symbolism of Changseung and Sotdae were as follows: First, Changseung and Sotdae express the 'symbiotic world view' that human beings need to devote one's life to nature. Second, original materials were saved in order to achieve the 'pursuit of essence'. Third, 'simple esthetic expression' was symbolized through the undivided condition between art, religion and life. And fourth, 'empathic humor' was seen through the basis of emotional sense of affinity. The first concept of design development was 'Pursuit of Essence', which was inspired by the characteristics of 'symbiotic world view' and 'pursuit of essence'. Changseungs were expressed as simple and abstract, and Sotdaes as simplified and modern by symmetrical and rotating copy. The second concept, 'Touch of Humor' was inspired by 'simple esthetic expression' and 'emphatic humor'. The face of Changseungs was exaggerated in a humorous ways and Sotdae was developed as sub-motives. The items for the fashion-cultural design were T-shirts, bags, and scarves. Total of 24 items were developed with 4 differently styled designs for each concept. This study was based on basic culture and attempted to diversify the traditional culture items. It hopes to raise the value of traditional culture, and furthermore help build up national competitiveness.

• 복식
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• 제61권3호
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• pp.36-50
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• 2011

The traditional masculinity has been gradually diversified towards the 21th century due to a new social environment. Men embrace his feminine side with heightened aesthetic sense using cosmetic products for better skin, hair, and nails. This diversification of male image and his beauty style proves the addition of feminity to masculinity. C. G. Jung felt that we are all really bisexual in nature. The anima is the female aspect present in the collective unconscious of men and it is the archetype through which we communicate with the collective unconscious generally, and it is important to get into touch with it for self-realization. This study analyzes subconscious desire based on the anima archetype in the collective unconscious of men through the diversity of the gender identity shown in men's cosmetic advertisements, and therefore it aim to help developing a marketing strategy of male beauty industry in the future. For this purpose, it conducted an empirical analysis of male beauty style in cosmetic advertisements through the Jungian anima theory. The conclusion of this study is as follows: First, gender identity represented in cosmetic advertisements was typified as Retrosexual, Ubersexual, Metrosexual, Cross sexual. Second, the anima archetype stimulates feminity in male beauty style. Cross sexual type has the highest feminine tendency. Third, range of utilization of cosmetic products is articulated with the diverse gender identity. Cross sexual type is most similar to the female beauty style. This feminization of male beauty style is the external expression of collective unconscious and affords human being to reach self-realization.

• 한국의류학회지
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• 제41권2호
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• pp.197-211
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• 2017

Modernization drastically changed the cosmetic culture of Korea and Japan. A classic case that shows this is the appearance of the term 'Hyangjang (香粧)'. This paper investigated the background to the formation of the term Hyangjang (香粧), and reviewed the aspects of cosmetic culture that changed with the emergence of Hyangjangpum (香粧品), or cosmetics containing perfume. The investigation revealed that the term Hyangjang (香粧) appeared for the first time in Hirano (1899), a literature published in the Meiji period in Japan, and that the new term Hyangjang (香粧) had been formed against the background of advanced Western synthetic perfume and played an important role in contemporary techniques for the manufacture of cosmetics. The term Hyangjang (香粧) and cosmetics containing perfume, or Hyangjangpum (香粧品) were then introduced from Japan to Korea. In Korea, the term 'Hyangjang (香粧)' appeared for the first time in an advertising copy written by Hyeon Hui-un, a pioneer of the Korean modern theater movement during the period of Japanese colonial rule. At that time, cosmetic companies in Korea and Japan were releasing cosmetic products that contained perfume that stimulated a women's desire to purchase them by emphasizing 'fragrance' in their advertising. Existing public tendencies to regard a fragrant smell from a made-up face as vulgar were changing and the public perception of fragrance were also changing. The appearance of Hyangjangpum (香粧品) indicates that the existing cosmetic culture revolving around visual sense changed into a complex cosmetic culture involving olfaction. This change in culture is significant in that it heralded the direction of future development towards cosmetic culture that uses increase combinations of different senses including touch, taste, and hearing.