• 대한치과보철학회지
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• 제37권1호
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• pp.51-70
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• 1999

Dental porcelain is one of the materials of choice for restoration where esthetics is of concern, but has a considerable potentials of wear. The wear of enamel is variable when opposed by different porcelain systems and surface conditions, and the exposed dentine and opaque porcelain due to clinical failure is expected to have high potentials of wear. The purpose of this study was to investigate the wear effects of self-glazed, polished incisal porcelain. polished dentine and opaque porcelain against human enamel in the laboratory by use of a pin-on-disk type wear tester. 4 types of dental porcelain($Vita-{\Omega}$, Ceramco-II, Vintage powder $Vita-{\alpha}$ of In-Ceram system) and type IV gold alloy as cotrol group were used for test specimens. Intact buccal cusps of maxillary premolar were used for enamel specimens, and the cusp converged to a point and was devoid of visible abrasion, caries, decalcification. The upper part was the cusp of a maxillary premolar and the lower part was a porcelain specimen. The enamel wear was deter-mined by weighing the cusp before and after each test. Surface profilometer was used to quantitate wear of the porcelain specimens. Vicker's hardness tester was used to evaluate the surface hardness of test specimens. The SEM was used to evaluate the wear surfaces. The results were as follows : 1 Self-glazed porcelain produced more enamel wear than polished porcelain, especially the enamel wear of $Vita-{\alpha}$ self-glazed porcelain was 3.2 times more than that of other groups. 2. Opaque porcelain produced least porcelain wear, $Vita-{\alpha}$ self-glazed porcelain produce greatest porcelain wear, but there was no statistically significant difference between the groups(p>0.05). 3. The enamel wear of dentine porcelain was 3.8 times more than that of polished inisal porcelain(p<0.05), and the enamel wear of opaque porcelain was 1.9 times more than that of polished inisal porcelain, but there was no statistically significant difference between the groups(p>0.05) 4. Overglazed porcelain produced less enamel wear than self-glazed porcelain, and more enamel wear than polished porcelain, but there was no statistically significant difference between the groups(P>0.05). 5. The hardness number of $Vita-{\Omega}$ dentine and Ceramco-II opaque porcelain was larger, but that of Vintage dentine and $Vita-{\alpha}$ self-glazed porcelain was similar to other groups. 6. Examination of SEM photographs revealed that overglazed porcelain had smoother surface than self-glazed porcelain, and self-glazed porcelain had smoother surface than polished porcelain. Much polishing scratches and larger porosities were observed on the opaque porcelain specimen, and much polishing scratchess and small porosities were observed on the dentine porcelain specimen.

• 한국의류학회지
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• 제32권6호
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• pp.859-870
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• 2008

본 연구의 목적은 21세기 패션컬렉션에 나타난 모즈 룩에 대한 다양한 미학적 고찰을 통해 사회문화적 배경과 시대정신에 따라 한 시대의 미의식이 패션에 반영되는 특성을 분석하여 패션의 문화적 역할을 재인식하고자 하는 것이다. 연구방법은 모즈와 모즈 룩에 대한 문헌고찰과 2001년부터 2006년까지의 패션잡지에 나타난 모즈 룩의 사진 168건의 자료를 통한 실증적 분석을 하였다. 분석결과, 21세기 패션에서의 모즈 룩은 미니멀 스타일, 스포츠 캐주얼 스타일, 빈티지 스타일, 댄디 & 앤드로지너스 스타일로 유형화할 수 있었다. 이처럼 모즈 룩은 젊음, 발랄함, 새로움 등의 감성과 절충될 뿐만 아니라 스포츠 룩 그리고 스트리트 패션에까지 나타남으로써 대중의 기호에 맞는 디자인 개발 및 새로운 미래 패션영감에 계속 반영 될 것이다.

• The Journal of Advanced Prosthodontics
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• 제11권1호
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• pp.7-15
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• 2019

PURPOSE. The aim of this study was to identify the effects of three aesthetic restorative materials on the wear between tooth and restoration by a pin-on-disk manner. MATERIALS AND METHODS. Six aesthetic restorative materials were used to prepare disk specimens for wear test, which were Lava Zirconia as zirconia group, Vintage MP and Cerabien ZR as veneering porcelain group, Gradia Direct microhybrid composite containing prepolymerized fillers, Filtek Z250 microhybrid composite containing zirconia glass and colloidal silica particles, and Filtek Z350 nanocomposite as composite resin group. Vertical loss of the worn cusp, change of the surface roughness of the restoration materials, and the surface topography were investigated after wear test under 9.8-N contact load. RESULTS. The porcelain groups (Vintage MP and Cerabien ZR) caused the largest vertical loss of teeth when compared with those of the composite resin and zirconia groups, and Filtek Z250 microhybrid composite results in the second-largest vertical loss of teeth. The surface of Filtek Z350 nanocomposite was deeply worn out, but visible wear on the surface of the zirconia and Gradia Direct microhybrid composite was not observed. When the zirconia surface was roughened by sand-blasting, vertical loss of teeth considerably increased when compared with that in the case of fine polished zirconia. CONCLUSION. It was identified that microhybrid composite resin containing a prepolymerized filler and zirconia with reduced surface roughness by polishing were the most desirable restorative materials among the tested materials to prevent the two-body wear between aesthetic restorative material and tooth.

• 한국의류학회지
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• 제33권4호
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• pp.531-542
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• 2009

This study examines the correlation between the characteristics of sustainable slow design, The outcome derived from the pro-environmental consciousness in fashion design, and the trends of modern fashion design. The conclusion of this study is as follows. First, slow design for sustainability shows an environmental consciousness and stresses the ethical aspects of fashion design that take into account the wellbeing and sustainable development of human society. It also focuses on the continuos present in which the consistent pace of life endures, rather than pursuing speedy changes of fashion by titillating desire. Second, the five characteristics of slow design have been extracted from the analysis of the examples of fashion industry and other fashion-related areas. They are sustainability, recyclibility, handicraft, naturalness, and simplicity. Third, these characteristics of slow design have much to do with modern fashion genres. For instance, classical style fashions such as Chanel suit and Burberry coat have the same qualities of sustainability, while at the same time the Vintage fashion, which reinterprets the fashions from bygone eras in modern style, has the tendency of recyclibility, and the Hippie style, a resurrection of hand-touch spirit that emerged as a secondhand style expressionism resisting uniform mass production, has not only the quality of handicraft but also recyclibility.

• 한국의류산업학회지
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• 제12권6호
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• pp.715-722
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• 2010

The purpose of this study is to consider the characteristics of 'slow' fashion style expressed on fashion magazine in pursuit of sociocultural paradigm change towards 'slowness'. As for the research methodology, content analysis for Vogue magazine has been undertaken. The results of this study can be summarized as followings. First, the concern toward eco-friendly ethics has been involving simple style which is long-lasting, junky style which is reused or recycled, and sustainable style which is motived by nature. Second, the interest toward local diversity has been involving ethnic exotic style which is inspired by global culture and vintage retro style which is applied the old tradition. Third, the attention toward self-made has been involving personal style which is produced through the process such as made-to-measure, made-to-order and reform. Also, anonymous dresses can be personalized easily under mix-n-match. In Conclusion, the 'slow' fashion characteristics has been expressed on contemporary mass fashion in various way and the 'slow' fashion would be expected to improve in accordance with the change toward sociocultural paradigm of 'slowness'.

• 한국실내디자인학회논문집
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• 제22권3호
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• pp.81-90
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• 2013

There has been current trend running through each generation. All the leading areas in the fashion, art, architect industries etc. are absorbing the needs of the mass users and getting popular and high attentions from the society. One of recent trends are the interior design utilizing the aged style of materials such as bricks, antique and vintage objets. It is applied not only for the cafeteria, movie theater, museum but the cultural space. It reflects the brand-new and Utopian interpretation of design longings for the nostalgia and the old ages. This goes back to the picturesque aesthetics in the 1980s. The term "picturesque" means "picture-like". And it originated from the Utopian vision taken from the landscape paintings of English aristocrat's trip to Europe. it mainly reflects people's longing for the nostalgia and their the happy days in the past. In recent days of bad economies, it has been found in various areas from people's desire for the prosperity in the last days. The objective of this study is to examine the up-current trend of picturesque aesthetics and see its characteristics and how it can be applied to the interior design. And the feasibility study for the necessity of the picturesque aesthetics, any spatioperceptual elements and capable space for human beings to be made for an eclectic space in the desolate modern day life.

• 한국도서관정보학회지
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• 제30권1호
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• pp.1-29
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• 1999

이 연구의 목적은 대학도서관 자동화시스템의 품질을 평가하는 과정을 통해 도서관자동화의 현단계를 진단하고 현행 자동화시스템에서 발견되는 문제점을 치유하여 향후 보다 바람직한 시스템 구축을 위한 전략과 방안을 제시하는데 있다. 이를 위해, 서울대의 SOLARS, 포항공대의 LINNET, 그리고, 부산대의 PULIP (Vintage Las의 customized 형태)을 사례로 선정하여, 각 시스템의 개발과정에서 나타나는 특성과 문제점을 파악하였으며, 또한, 품질평가를 위한 객관적인 기준을 마련하여 각 시스템의 기능을 비교하였고, 나아가, 각 시스템의 장단점을 사서와 최종이용자의 관점에서 분석하였다. 이 연구를 통해 밝혀진 대학도서관 자동화시스템의 품질을 열악하게 만든 주요 요인은 : 계획 부재와 졸속 시행, 자동화 전문 인력의 부족, 시스템 중심의 개발 전략, 이용자의 행태에 대한 분석 결여, 도서관들 사이의 협조체계 미비, 과정에 대한 문서화 작업의 소홀, 그리고, 시스템에 대한 평가과정의 결여 등으로 요약된다.

• International Journal of Costume and Fashion
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• 제13권2호
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• pp.31-51
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• 2013

Hawaiian textile art has inspired artists and fashion designers worldwide and accounts for the high value of vintage Hawaiian apparel as collectibles. Other than tropical designs, a large portion of the textile art showcased the ethnic diversity of Hawai'i. In the 1800s, Hawai'i attracted immigrants from all over Asia, and the majority of Hawaii's residents today claim Asian ethnicity. This ethnic mix was made visible in textiles, a trend championed by Alfred Shaheen, an apparel manufacturer who loved Asian designs. He was committed to the celebration of cultural diversity at a time when Hawai'i was rapidly westernizing. The team of Asian textile artists he led created textile designs based on motifs and imagery from Asia. Shaheen's passionate vision led to the unique textiles produced in the 'golden age' of Hawaiian textiles, from 1940 through the 1960s. Alfred Shaheen has been called "Hawaii's Master Printer" and has been credited for turning Hawaiian textiles into art. The author's interviews with Mr. Shaheen were conducted over a decade, and form the basis for this paper in which Shaheen's own words are used to discuss his use of textile art in the transformation of the Hawaiian textiles and garment industry.

• 한국의류산업학회지
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• 제14권3호
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• pp.430-437
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• 2012

This study analyzed the sensibility of eco-friendly fabrics for college students and investigated their attitude on environmental problems, trust reliability onto eco-apparel products, and their purchase state. We tested 6 eco-friendly fabrics (recycled polyester, organic cotton, green tea, charcoal, bamboo, and nettle) through a survey using the Likert scale of 12 polar sensibility words. Most fabrics showed feelings that were smooth, natural, female, and country these were followed by fashion, cheap, functional, sustainable, warm, and vintage. In addition, nettle fabric showed 'rough' feeling, and recycled polyester fabric showed an 'artificial' feeling. Correspondence analysis showed the distance and direction between fabric types and sensibility words with a 2D diagram where the X axis was named with 'Soft <-> Hard' and Y axis was with 'Environmental <-> Manmade' to represent the relationship between fabric types and the sensibility words. According to the results of the multiple regression analysis, the cognition level of the consumer for environmental problems was found to be the most influential variable on the loyalty purchase of eco-friendly products; however, the trust reliability level of consumer onto eco-friendly apparel products was found to be the most influential variable on the conditional purchase of eco-friendly apparel products.

• Asia pacific journal of information systems
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• 제20권3호
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• pp.33-49
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• 2010

We empirically examine the impact of online auction knowledge and category-specific knowledge on the final price of online auctions. Specifically, we question how the relationship between buying and selling experiences affects the final prices of online auctions. Related to the trust between buyers and sellers, we examine the multiple interactions between a buyer-seller pairand aim to identify how these repeated transactions influence the final price. To contrast these effects with other product related factors, we focus on so called 'common value' auctions of vintage stamps on eBay, in which the ex-post value of the product is the same among participating agents’ perceived value. Online auction of stamps provides a representative setting to examine the relationship between market experience and the auction participation behavior in the common value auction, as it provides the book value of stamp as well as price variation across individual buyers with different expertise levels. Our analysis of over 3000 stamps auctions on eBay indicates a significantly high frequency of buyer-seller (pair) interactions, thus suggesting a 'relationship view' of auctions. The work validates five hypotheses derived from the existing theory in economics, marketing, and information systems. Through the common-value auction data, we find that seller's online auction experience and category-specific experience favor sellers by increasing the final price. However, buyer's online auction experience does not affect the final price, but buyer's category-specific experience favors buyers by decreasing the final price. We find that the trust between two trading parties increases the final price.