• Fashion & Textile Research Journal
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• v.1 no.3
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• pp.252-258
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• 1999

The aims of this study is to classify the lower somatotype of adult women and appearance analysis on the shape of flare skirts by using the image processing. Also We have made skirts in order to analyze the various types of appearance of flare skirts by using the image processing. The subjects for our wear test lower somatotype, who were controlled in their waist, abdomen and hip shapes. The flare skirts used for wear test were 112 types(combinated 14 fabric type and 8 lower somatotype). The effect of lower somatotype on the shape of flare skirts was determined by the horizontally hem line section shape and the silhouette of flare skirts with image processing. The data were analyzed by using analysis of variance and Turkey, Duncan multiple range test. The results obtained are summarized as follows: It is shown that the fabric weight elongation differs in fabrics properties, in direction of textures. The shape horizontal section of flare skirt hem line has differed with the number of nodes, wave-height of nodes and breadth of silhouette by fabrics properties and lower somatotype. It is noticed that the breadth of flare skirts by the silhouette has high correlation with the drape ability of fabrics and lower somatotype. Results for our flare skirts show changes in amplitude and mean with fabrics, somatotype. Therefore we can say that gray-level histograms are correlated with changes in appearance, differences in drape spacing and related fabric properties and their somatotype.

• Journal of Korean Home Economics Education Association
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• v.34 no.3
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• pp.133-148
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• 2022

This study aims to explore the status and motives for using avatars and digital fashion items in the metaverse and to examine consumers' purchase satisfaction and future purchase intentions. We intend to provide implications for the development of avatars and fashion items, and the direction of the fashion industry and clothing education. For this purpose, the purchasing status, consumer motives for using avatars and digital fashion items, purchase satisfaction, and future purchase intentions were investigated, through a survey with 149 consumers aged 19 years or older, with the experience of using avatars. The results are as follows. First, the percentage of avatar ownership was high among women aged between 19 and 29, and those with low or high incomes. The younger group was more likely to make mobile phone purchases than the older group, and the older group was more likely to use credit cards. Even those respondents who owned avatars did not purchase frequently or spent a lot on items. On the other hand, in the case of fashion item purchases, the group spending more than 8,000 won was aged between 19 and 29, and the frequency and amount of purchases increased as income increase. Second, among the motives for using avatars and fashion items, the pursuit of pleasure had the greatest influence, and men paid more attention to self-expression through avatars than women. Third, the motive for vicarious satisfaction influenced purchase satisfaction, and the factors that influenced future purchase intention were vicarious satisfaction and stress relief. The results of this study suggests that avatars and fashion items should be developed considering factors that can relieve stress for all age groups, create a sense of unity among metaverse users, and provide satisfaction in a virtual world that is different from reality. In addition, education on how to use fashion items and consumption attitudes in education related to clothing life will be required.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.4-14
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• 2010

Collaboration strategies entail information sharing and other varied forms of cooperation that are mutually beneficial to the company and stakeholder groups. This study addresses the specific types of collaboration used in the fashion industry while also examining strategies that have been most successful for fashion companies and perceived benefits of collaboration from the customer perspective. In the present study we define fashion companies and brands as collaborators and their partners or stakeholders as collaboratees. We define collaboration as a cooperative relationship where more than two companies, brands or individuals provide customers with beneficial outcomes utilizing their own competitive advantages on an equal basis. Collaboration strategies entail information sharing and other varied forms of cooperation that are mutually beneficial to the company and stakeholder groups. Through collaboration, fashion companies have pursued both tangible differentiation, such as design and technology applications, and intangible differentiation such as emotional and psychological benefits to customers. As a result, collaboration within the fashion industry has become an important, value creating concept. This qualitative study utilized case studies and in-depth interview methodologies to examine customers' attitudes concerning collaboration in the fashion industry. A total of 173 collaboration cases were identified in Korean and international markets from 1998 through December 2008, focusing on fashion companies. Cases were collected from documented data including websites and industry data bases and top ranked portal search sites such as: Rankey.com; Naver, Daum, and Nate; and representative fashion information websites, Samsungdesignnet and Firstviewkorea. Cases were collected between November 2008 and February 2009. Cases were selected for the analysis where one or more partners were associated with the production of fashion products (excluding textile production), retail fashion products, or designer services. Additional collaboration case information was obtained from news articles, periodicals, internet portal sites and fashion information sites as conducted in prior studies (Jeong and Kim 2008; Park and Park 2004; Yoon 2005). In total, 173 cases were selected for analysis that clearly exhibited the benefits and outcomes of collaboration efforts and strategies between fashion companies and stakeholders. Findings show that the overall results show that for both partners (collaborator and collaboratee) participating in collaboration, that the major benefits are reduction of costs and risks by sharing resource such as design power, image, costs, technology and targets, and creation of synergy. Regarding types of collaboration outcomes, product/design was most important (55%), followed by promotion (21%), price (20%), and place (4%). This result shows that collaboration plays an important role in giving life to products and designs, particularly in the fashion industry which seeks for creative and newness. To be successful in collaboration efforts, results of the depth interviews in this study confirm that fashion companies should have a clear objective on why they are doing the collaboration. After setting the objective, they should select collaboratees that match their brand image and target market, make quality co-products that have definite concepts and differentiating factors, and also pay attention to increasing brand awareness. Based on depth interviews with customers, customer benefits were categorized into six factors: pursuit for individual character; pursuit for brand; pursuit for scarcity; pursuit for fashion; pursuit for economic efficiency; and pursuit for sociality. Customers also placed more importance on image, reputation, and trust of brands regarding the cases shown in the interviews. They also commented that strong branding should come first before other marketing strategies. However, success factors recognized by experts and customers in this study showed different results by subcategories. Thus, target customers and target market should be studied from various dimensions to develop appropriate strategies for successful collaboration.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• Journal of agricultural medicine and community health
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• v.31 no.3
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• pp.219-236
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• 2006

Objectives: To develop a model of a official management system for agricultural disease, injury and accidents, We analyzed current Korean status and management system about occupational injury and accident of farmers. Methods: For national management systems of industry safety and health and current status of occupational injuries and accidents of farmers, related literature such as books, theses, articles, and web documents were collected and analyzed. Results and Conclusion: The regulations of protecting occupational injury and accidents of farmers are suggested as follows: (1)insurance and compensation act for occupational injury and accident of farmers, (2)setting standards of occupational injuries and accidents of farmers, (3)mandating the usage of safety devices for agricultural vehicles and equipments, (4)reporting occupational injuries and accidents that occur among farmers, (5)registering pesticides and assessing safety usage, (6)implementing safety training, (7)supporting personal protective equipments and agricultural safe facilities etc.

• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.600-613
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• 2011

The purpose of this study is to provide Torso pattern for Korean middle-aged women using 3D human body scan data. 155 women in their 40's or 50's were measured by Martin's anthropometry. Merging the data of 914 middle aged women provided by Korean agency for technology and standards, total of 1,069 subjects' data were analyzed. For data analysis, ANOVA, factor analysis and cluster analysis were done using SPSS PC+. And representative subject of each cluster was selected and they participated in 3D scanning and Torso pattern suggested for middle-aged women Torso pattern which investing the amount of ease according to each group for diffuse front interscye 30%, armscye circumference 30%, back interscye 40% using 3D human body scan data. The results of this study are as follows. Firstly, as a result of the factor analysis, the first factor was 'obesity index of body', The second factor was 'verticality size of body', The third factor was 'verticality length of upper bodice', The fourth factor was 'drop value to represent silhouette', and the fifth factor was 'physique of upper bodice'. And, middle-aged women type were classified 3 types according to the cluster analysis. Type 1(Y-type) was the long upper Torso with wide shoulder. Type 2(H-type) was flat-body type with comparatively thin upper bodice and thin lower bodice. And type 3(A-type) was the obese type with comparatively thin upper bodice and fat lower bodice. Secondly, using CAD program, point filtering was performed and approximated surface model was made. It used that generated surface smoothing corrected for abnormally extruded points and scattered points based on the curvature information. And 3D surfaces were flatted onto the plane by the internal tools of CAD program. Difference ratios of outline length and area between 3D curves and 2D plane were 0.42% and 0.54%, respectively. Third, wearing test by the sensory evaluation showed that distinct difference almost every category. The movement functionality test shows that, in all the tests which reveal significant differences, especially, 'comparison pattern A' experienced inconvenience to neck width and neck depth.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.150-162
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• 2014

This study examined the excavated clothes of Lady Sim Cheongsong(1753~1810) in Jecheon which were excavated in 2012. Lady Sim died at the age of 57 and the excavated relics belonged to the 18th and 19th centuries. The excavated relics consisted of 9 pieces of three-kind-clothes. They showed various qualities such as Plain-Silk, Plaited-Silk, Patterned Twill, Plain Twill, Plain Satin, and Satin Damask. Through comparing them with the other excavated clothes of the 18th and 19th centuries, we can comprehend the periodical changes of the excavated Jegori and Yeomo (the hat for a dead woman). The excavated Jegori shows the difference of length and form from the other Jegori of the 18th century. The total length of the excavated Jegori ranged from 24 cm to 25 cm, which is 10 cm shorter than that of the other Jegori of the 18th century. The excavated hat for a dead woman shows the changes of the form and needlework. The form of a rectangular cover was changed into that of a round shape. In regards to the sewing composition, the way of inserting the cover into Mosin(the body of the hat for a dead woman) was replaced by that of connecting the cover into Mosin. The excavated clothes show three kinds of textile fabrics: plain silk fabrics and plaited silk, plain twill and four-leaf-patterned twill, eight-leaf-plain satin of life-lettered textile and five-leaf satin damask, and plain satin. Especially, the combination of eight-leaf satin and four-leaf twill with mixed textile is considered as a fabric of high quality. The excavated clothes of Lady Sim Cheongsong showed a periodical change which was different from the clothes of the 18th century in terms of the formal composition of Jegori and Yeomo. Regarding Women's Jegori a short length and slim and long sleeves are changed into short and tight Jegori, which signaled the specific change of Jegori aesthetics. The significance of the excavated clothes of Lady Sim Cheongsong lies in its role as the bases for understanding the couture culture of the 19th century.

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.176-187
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• 2007

Buddhist paintings in the late Joseon dynasty are characterized by diversification and subdivision of subject matters. Buddhist paintings rapidly declined since 19th century, being miniaturized and showing complicated composition. Figures that identified the shape of shoes in Buddhist paintings of late Joseon dynasty included sacheonwang that were placed in the left and right bottom of Buddhist paintings, sinjung, gwiwang and pan-gwan of siwangtaeng. Sacheonwang, an Indian folk god, was depicted as a noble person in "ahamgyeong", an early sutra, but was depicted as an armored warrior in Mahayana Buddhism world. The style of shoes sacheonwang in Korea were different depending on the times. The shoes of the sacheonwang sculpture in Seogguram of Shilla dynasty are sandal type. The sacheonwang that was drawn on Jijangbosaldo in Goryeo dynasty wears non-showy armor and red yi(履). The sacheonwang that was expressed on Buddhist paintings in Joseon dynasty wears showy armor and decorated hwa. Comparing the yi of Goryeo Jijangbosaldo sacheonwang with the yi of Bodhisattva on the Dunhuang yeolbanbyeonsangdo, Jijangbosaldo sacheonwang's shoes are Korean style in which the sole is flat and the front part has no decoration, but in the shoes of Bodhisattva on the Dunhuang yeolbanbyeonsangdo the sole is not flat, the front part is lifted. The style of shoes of pan-gwan, who is depicted on Siwangtaeng, is hwa. However, unlike the decorative hwa of sacheonwang, its front is not lifted and it has no decoration. It is assumed that the shoes of sacheonwang or pan-gwan represented obangsaek based on the idea of eumyang-ohaeng. Depiction of shoes shown in Buddhist paintings reflected the phases of the social life. In addition, the sandals of Shilla sacheonwang implies that sourthern culture in addition to Buddhism was introduced. Having expressed the shoes of Goryeo sacheonwang with conventional yi implies that Buddhism governed the inner world of the people, and the shape and material of the shoes reveals aristocracy. It is assumed that that an armored warrior wore yi, not hwa implies that the then society was stable. Also, it is assumed that that the shoes of sacheonwang on Buddhist paintings in Joseon dynasty were hwa implies that the role of tutelary god was stressed in the disordered society.

• Fashion & Textile Research Journal
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• v.1 no.2
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• pp.173-181
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• 1999

The purpose of this study was to investigate actual sleeping environments in Ondol rooms depending on the season. The experiment was performed on five healthy women. The bedroom environments using Ondol were measured in five cases (three apartments and two houses). The environments in bedroom, bedding temperature, skin temperature and thermal sensation were measured continuously through the seven days for each season in real life. This data of sleeping environments were analyzed in the view of seasonal variations and housing types. Annual average bedroom temperatures: $26.2{\sim}31.0^{\circ}C$ in apartments, $15.7{\sim}33.6^{\circ}C$ in houses. Annual average bedroom humidity: 48.3~82.1% RH in apartments, 64.9~87.0% RH in houses. During sleeping, temperatures of contact surfaces like sheets and under quilts ranged between $30.5^{\circ}C$ and $34.1^{\circ}C$ regardless of season or housing type. Annual average rectal temperature was $36.8^{\circ}C$ with no significant difference in season or housing type. In the point of thermal sensation, neutral temperature of the bedroom was $25.9^{\circ}C$ in apartments and $20.3^{\circ}C$ in houses. It was concluded that in spite of thermal environmental variations according to the seasons, skin, bedding and bedroom temperatures in apartments were better and more stable than those of houses. It is regarded that while houses are brick structured, apartments are steel-frame structured. Due to better insulation and air tightness, apartments were affected less from outdoor temperature and maintained higher room temperature than houses.

• Journal of Adhesion and Interface
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• v.14 no.3
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• pp.117-120
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• 2013

The prepreg material is a sheet of the reinforcement pre-impregnated with a resin. In this study, two types of prepreg were prepared with a general phenolic resin and the polyvinyl butyral (PVB) modified phenolic resin, respectively, with resin content of 40 wt%. After resin impregnation, the prepregs were heat treated in an oven to make them the B-stage. Surface morphology of the prepreg was observed by using a scanning electron microscope (SEM). Tack property of the prepreg is one of the major properties that govern the ability of prepreg to be laid up. In this study, the tack of prepreg was measured under various test parameters by a probe tact test. Test parameters were contact time, contact force and debonding rate. Most of the tack properties of the prepreg increased with the test parameters. Then tack properties exhibited a linear behavior with test parameters before a saturation point. Also, the tack of prepreg was investigated in relation with the fibrillation phenomena involved in the prepreg surface with the debonding rate.