• 한국의상디자인학회지
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• 제21권1호
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• pp.149-162
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• 2019

The purpose of this study is to suggest various directions of living hanbok and proposed the living hanbok design that integrated the tradition and the contemporary, as well as the past and present with denim material that represents the youth cultureby while using the motif of Korean Jogakbo. For the research method, the data on living hanbok, denim, and Jogakbo were surveyed to develop and produce a living hanbok design. The development of a living hanbok design emphasized the meaning of longing for an accumulation of good fortune, by using the concept of 'wishing for fortune' including the symbolic images of denim and Jogakbo. The production results of this study are as follows. First, the Jogakbo motif consisted of patterns yearning for harmony, great fortune, longevity, and many children, and the living hanbok design integrated with the denim material symbolized the convergence of the past and present and the harmony of eastern and western cultures. The study could verify that the living hanbok design was recreated in a contemporary sense to be used everyday by expressing contemporary senses in a traditional image. Second, leftover fabric pieces and recycled materials that can be abandoned by the material market were used for denim. This study could also develop the living hanbok design as a sustainable design through upcycling, an important social trend, puting an emphasis on carrying out socio-ethical responsibilities. Third, denim Jogakbo work, which is connected by small pieces of denim material, used to be a difficult and labor intensive handicraft, but it could be proposed as a new high value-added fashion and generate contemporary living hanbok with a new image.

• 한국의상디자인학회지
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• 제24권3호
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• pp.127-144
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• 2022

This paper aims to analyze the different external images of women expressed in ancient artwork through the socio-cultural background and the aesthetic view during the Tang and Song dynasties of China. The research method contains a literature review involving the collection of historical literature, thesis, and artwork data. The image of women according to the aesthetic view of the two periods is summarized as follows. In terms of face shape, the Tang pursued a round face while the Song pursued a more slender shape. As for hair ornamentation, the Tang wore various shapes of hair buns like "Paojiaji", and decorated them with coronets. The Song wore various types of braided hair called "Tongxinji", but the coronets were smaller and more sophisticated. For makeup, the Tang wore colorful and heavy makeup and the Song makeup was lighter and more elegant. In attire, the Tang followed revealed shape, used splendid colors and thin, transparent material. The Song exhibited a more simple design and was conservative and neat, using luxurious silk fabric with low chroma. In body shape, the Tang pursued the "beauty of obesity" with a voluptuous body shape; the Song pursued the "beauty of gaunt" with a slim body shape. As the result of the analysis according to the aesthetic views of the Tang and Song dynasties, women of Tang were depicted as rich, and women of Song were rather neat. The research on the aesthetic views that changed according to the development of social civilization and the status of women will play an active role in the transmission and development of traditional Chinese culture. At this point, the paper may contribute to the creation of images of women as well as changes in the art of future generations.

• 한국의류학회지
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• 제46권3호
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• pp.545-563
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• 2022

Metaverse is a digitally generated world beyond the physical realm; many fashion brands are launching virtual stores in Metaverse. This study explores the cases of flagship stores of fashion brands in Metaverse to understand the peculiarity of Metaverse retailing. This study selected four flagship stores of fashion brands launched on ZEPETO, the largest Metaverse platform in Korea. The characteristics of Metaverse retailing used for case analysis were store (store credibility, servicescape, ease of use), product (content, demos, incentives), social factor (store personnel, store customers), and entertainment (events, games, free gifts). The results illustrate that a transaction system linked to reality could not be established due to technical limitations; it was difficult to obtain specific product information, such as the color, size, and fabric. However, all four fashion brands overwhelmed the traditional retail channels in terms of providing various spatial experiences by operating their virtual stores in global cities related to the heritage and identity of each brand. Furthermore, fashion brands can convey a sense of deviation and fantasy to consumers by delivering unique entertainment activities in Metaverse that they cannot easily provide in real life.

• 한국전자통신학회논문지
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• 제18권1호
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• pp.157-164
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• 2023

현대 사회에서 스마트홈은 사람들의 일상생활의 한 부분이 되고 있다. 전통적인 스마트홈 시스템은 보안, 데이터 집중화, 위변조 같은 문제들을 내포하고 있으며, 이러한 문제들을 해결하는 기술로서 블록체인이 각광 받고 있다. 본 논문은 홈과 블록체인 네트워크 부분으로 구성된 블록체인 기반 스마트홈 시스템을 제안한다. 8개의 노드로 구성된 블록체인 네트워크는 도커 환경에서 하이퍼레저 패브릭 플랫폼에서 구현된다. 데이터 전송 보안을 위하여 ECC 암호화 기술이 사용되고, RBAC가 네트워크 회원의 인증을 관리한다. Raft 의사 결정 알고리즘은 분산처리 시스템의 모든 노드에서 데이터 일관성을 유지하고, 블록 발생 시간을 줄인다. 노드들이 스마트홈 데이터를 안전하고 효율적으로 접근하도록 스마트 컨트랙트가 쿼리와 데이터 전송을 제어한다. 실험 결과는 많은 동시 접근 하에서 안전한 평균 쿼리와 서브밋 시간이 84.5 [ms]와 93.67 [ms]로 유지되고, 모의 패킷캡쳐 공격에서 전송 데이터가 안전하다는 것을 보여준다.

• 문화기술의 융합
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• 제9권4호
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• pp.141-151
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• 2023

이 연구는 단편적 분절적 물자 중심의 대북 지원이 북한 주민의 삶의 질 개선에 지속가능한 해결안이 되지 못하고 정치적 갈등을 야기하는 점을 고려하여 대안으로서 대북적정기술 디자인을 탐구하였다. 먼저 북한 주민들의 니즈와 여러 적정기술 사례를 조사하여 매슬로우의 5단계 욕구 모델에 맞춰 분류정리하였다. 정리 결과 북한 주민은 전기와 식수의 니즈가 가장 높은 것으로 나와 관련 적정기술 중에 북한에 적용 가능한 사례를 선발하였다. 또한 북한은 극도로 폐쇄적인 국가로 현지 주민과의 협업을 중시하는 적정기술이 그대로 적용될 수 없고, 산업의 국유화와 농업의 집단화가 되어 있는 점을 감안하여 집단 공동체에 적합한 중간확산형(middle-diffusion) 도입방식을 구상하였다. 최종적으로 아프리카에서 적용된 전기 에너지 솔루션을 중간확산형 도입방식에 맞게 리디자인한 협동 농장용 태양광 충전소를 제안하였다. 이 연구는 대북적정기술의 가능성을 타진한 기존 연구에서 더 나아가 북한의 특수성을 고려한 적정기술의 도입방식을 구상하고 구체적인 사례를 제안했다는 점에서 의의가 있다.

• 헤리티지:역사와 과학
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• 제52권2호
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• pp.254-267
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• 2019

협힐(��纈)은 직물을 두 개 또는 그 이상의 조각한 목판 사이에 끼워 넣은 후 염색하여 무늬를 표현하는 방염(防染) 기법이다. 통일신라 흥덕왕 9년 복식금제(服飾禁制)에는 육두품녀(六頭品女)와 오두품녀(五頭品女)의 여러 가지 복식 품종에 협힐 사용을 금한다는 기록이 있다. 이것으로 미루어보아 협힐 직물이 당시 널리 사용되었으며 협힐 기법도 통일신라시대 또는 그 이전에 완성되었음을 추측할 수 있다. 그러나 문헌 자료에는 용어만이 언급되었을 뿐 염색 기법이나 정의에 대한 내용은 확인되지 않고 유물도 고려시대의 것만 극히 소량 남아 있어 협힐의 유형이나 특징을 알 수 없다. 공예 기술은 각 나라마다 정치 경제 사회 문화 등의 요인에 의해 변화하며 주변국과의 교류를 통해 발전한다. 따라서 본 논문은 주변국인 중국과 일본의 문헌 및 유물을 조사 분석하여 협힐 유형과 특징을 살펴보았다. 이를 통해 협힐은 국가별 특징보다 무늬를 나타낼 때 사용하는 색의 가짓수에 따라 단색(單色)과 다색(多色)으로 나누어지며, 무늬 구조에 따라 단독(單獨) 좌우대칭(左右對稱) 상하좌우대칭(上下左右對稱)으로 분류되는 것을 알 수 있었다. 또한 중국과 일본에서 전승 및 재현되고 있는 염색 기법의 사례를 연구한 결과 직물에 무늬가 잘 드러나도록 하기 위해서는 사용하는 색의 가짓수와 무늬의 특징에 맞추어 협힐판을 양각(陽刻) 투각(透刻) 음각(陰刻)으로 각각 다르게 조각하여야 하는 것을 확인하였다. 우리나라에서 무늬와 색이 온전히 남아 있는 유일한 유물인 1302년 아미타불복장 소화문협힐견을 실험 대상으로 삼고 염색 기법 사례 연구에서 얻어진 기초자료를 근거로 실증적 실험을 통해 협힐 기법을 재현하였다. 본 논문은 추후 계속 연구할 협힐 기법 재현에 활용될 기초자료를 구축하고, 전승되고 있지 않는 협힐 기법의 재현을 시도하여 기법의 특징을 확인한 것에 의의를 두고자 한다. 그리고 현대적인 무늬 염색 기법과 접목시켜 한국적 무늬 염색의 세계를 넓히며 재창조하는 데 보탬이 되길 기대한다.

• 복식
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• 제53권7호
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• pp.95-109
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• 2003

The style of different styles of clothing have been developed by not only the natural environment and social effects. but also by various variables such as the peculiar cultures and religions of different ethnic groups. It is naturally accepted without question that the origin of trousers was derived from the Skytie race in the modern style of dress. And the style of those trousers has changed and developed throughout a long history in different environments and surroundings. As part of the research of the process in this styles of clothing, it is essential to know how the fabric of trousers has been developed and how the styles have been changed because of different weather conditions and different religions. Nowadays, Eurasian countries was scattered from western and eastern Asian countries to middle Asian countries such as Russia, Uzbekistan, Kazakistan, Turkey, Turkmenistan, Iran and China. These countries are located on the way to the Silk Road. They are fully developed in a cultural area among the different religions. In terms of cultural aspects within the different religions, men's trousers had developed the traditional style of this dress as one of the importnat items on the cultural basis. The ranges and types of these traditional trousers are divided by the regions, such as west and southern Asia, central Asia and China. Pakistan, Afghanistan, Iran, Iraq, Syria, Lebanon, Turkey. Jordan, Saudi Arabia, Kuwait and Israel was a part of the west and southern Asian countries which were located between western countries and eastern countries. This tribes wore Shalwar trousers which is a wide style of trousers. Shalwar in the western and eastern Asian region has a specific feature by the each nation but has the same distinctions such as by using very wide and loose style and tying a fine thread around the waist. Some central Asian countries consisted of part of China, Turkmenistan. the Republic of Tajikistan. the Republic of Kyrgyzstan and the Republic of Afganistan. These style of trousers are compound types which appeared with mixing Draperian Greek culture. So it can be inferred from this data that the horse-riding nomadic trousers which had been handed down from Skytie tribe through Persia. The style of the trousers in those regions has small pieces. The style of the trousers in China, which is located on the way to the far eastern countries, has developed new trousers put together two pieces of the textile. These widen trousers can be worn by using a sash belt. So we can find out that those trousers of countries which mentioned above have a common point and a rule.

• 복식
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• 제57권3호
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• pp.37-52
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• 2007

Dan(緞) is satin damask. It was a newly popularized fabrics in the Joseon Period and is one of main traditional fabrics at present. The purpose of this study is to suggest a theoretical basis to name Dan(緞) remains properly by comparing and analyzing the name, pattern, usage, feature, length and width, value of Dan(緞) recorded on documents made at the end of the Joseon Period. The results of this study are as follows. 1. The kinds of Dan(緞) recorded on documents made at the end of the Joseon Period are various. Among fabrics named Dan(緞), were not only silk fabrics but also cotton fabrics, woolen fabrics, mixture fabrics with silk and cotton, and mixture fabrics with cotton and wool. 2. Some newly revealed patterns in the case of Dan(緞) are as follows. The shape of Byeolmun(別紋) is assumed to have originated from that of character symbolizing the Royal Family and developed into a variety of circular ones of dragon, phoenix, flower, or character. O-ho-ro-mun(五葫蘆紋) was five-gourd-shaped patterns that form a circle, turning their narrow mouth to the center, and vines between each two gourds. 3. When considering the usages of Dan(緞), Dan(緞) was used for various detailed usages according to their kinds. But it was't mostly used for underwear. 4. Features have been examined are Godan(庫緞), Mobondan(模本緞), Handan(漢緞), Daedan(大緞), Yangdan(洋緞), Waedan(倭緞), and Geumdan(錦緞). 5. The length and the width of 1 Pil(疋) silk fabrics are various. It is normal for the width being different, but for 1 Pil(疋)'s length being different is very unusual. The width of Dan (緞) was about 47-76.20cm, it was wider than Ju(紬), Cho, Gyeon(絹), Sa(紗), Ra(羅) and Reung(綾). 6. As for the value of each fabric per $10,000cm^2$, Dan(緞) was the most valuable silks at that time. Among them the most valuable Dan(緞) was Udan(羽緞).

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• 복식
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• 제36권
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.