• Korean Journal of Heritage: History & Science
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• v.34
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• pp.80-101
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• 2001

This article is concentrated on the organization for labor exchange in producing hemp cloth at Geumso-ri, Imha-myoun, Andong city. The organization is called "Sam-dool-ge", and it is different from the organization for labor exchange in producing rice because it is managed by women mostly. ln harvesting hemp, same amount of labor and expenses are invested. Especially, labor is supplied in equal condition. In spinning hemp cloth, the work is shared on the basis of same tech level. In threading the warp and fastening hemp cloth. the work conducted collaborately under the best engineer's direction. "Sam-dool-ge", a gil-sam labor exchange, also presents cultural creativity which produces and inherits the folkloric tradition, and also has the quality as a rite of passage. Nowadays, producing hem cloth is for pursuiting of profits than for making clothes as it used to be. This tradition will be lasted at least for a while because some young generations are beginning to participate in and old generation is teaching them good.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• The Research Journal of the Costume Culture
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• v.4 no.1
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• pp.93-109
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• 1996

Madeleine Vionnet, a representative designer of the 1920′s, who made prefectly organized clothes with unique formativeness was the first to express fabric in a modern method and was called "The architect of fashion". This is because she developed a three dimensional design by expressing cloth-she rejected corset, should pad, etc-into elegant curved lines that do not stick to the body. By granting meaning to the beauty of the body and its movement in her own unique ways, she emphasized the formativeness in her work and gave shape to creative artistry. Expecially with the "Bias-Cut" she could express the lines of the body more flexibly and could make geometrical styles like the diamond shape dress or the triangle dress more effectively. Using the "Tired Bias cut" and "Handkerchief point" she let the skirt hemline dangle irregularly in geometrical forms, thus showing modern formative sense which forms a three dimensional solidness along the movement of the human body. Thus far, analyzed how the contemporary trend of art was reflected in her designs by studying her work; also investigated through her artistic characteristics and pattern method. Also be tried to find out what can be learned through her artistic view and superb formativeness as a designer.

• Korean Journal of Rural Living Science
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• v.8 no.2
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• pp.111-117
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• 1997

In this study we tried to give a decision on propriety of working conditions, to present ideas on reducing work loads. and to grope for efficiency of agricultural works. For this we examined the actual conditions of working environment, farmer's clothes, working posture, working methods, working time, resting state, fatigue recovery methods during cultivating lettuce in the winter greenhouse. And Ive improved harmful factors that affect farmer's health by considering results of previous study and farmer's subjective sensation. And we measured, compared, and analyzed the farmer's work loads before and after improvement. The results of this study are as follows ; 1. According to examine the actual conditions of cultivating lettuce in the winter greenhouse, farmers have experienced physical and mental chronic fatigue on the basis of the hot and humid crops-centered working environment, the rough ground condition, inconsistent arrangement of working stand and sorter, heavy-weared habits. and unsuitable working posture. 2. When we improved harmful factors that affect farmer's health, conformed the positive effects on important work efficiency index such as heart rate, electromyovolume, body temperature, and microclimate inside clothing and work loads were decreased by improving the hot and humid working environment, eliminating the hillock and obstacles of working path. deliver way, arranging the working stand and sorter consistantly, decreasing the clothing weight, improving the working postures and methods as using assistant appliances, alloting the working time and sequence effectively and presenting the light gymnastic exercises and rest for fatigue restoration.

• Journal of the Ergonomics Society of Korea
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• v.29 no.2
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• pp.225-239
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• 2010

A high prevalence of farmer's work-related musculo-skeletal disorders (MSDs) have been reported in precedent studies. Risk factors - physical, chemical, biological, ergonomic risk factor etc. - in farm-work were identified by previous studies. To prevent farmers from exposing to them and reduce, Agricultural Safety Technology were introduced and used on farm. The purpose of this study is to review and summarize the agricultural safety technology on farm in Korea. According to strategy principles, this technology is classified as four criteria - workload reduction by reducing awkward posture, workload reduction by using manual material handling aids, Comfort improvement by protecting worker from hot, cold environment and work efficiency improvement by workplace redesign and cultivation modification. This technology includes transporting tools, working cloth, personal protective equipment, and pesticide-proof Clothing. Anthropometric study of Korean farmers was also carried out to support the development of equipment and clothes. In long terms, it needs to precaution activity from risk factors by using cultivation modification and working improvement. Although working condition gets better and workload reduce by this technology, it required customized safety technology in each crops - rice cultivation, horticulture and livestock farming. And farmers should use the assistive technology and participate voluntarily in ergonomic intervention program.

• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.472-477
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• 2011

In the tide of globalization, culture products play pivotal role in effectively introducing our tradition and culture to the world. This research is about developing culture products using our traditional lady's art craft work to attain the purpose of modern application through recreation of tradition along with modern technology. First, the types of traditional lady's art craft work include pouches, wrapping clothes and other accessories made by sewing except costumes. The materials used were cotton, silk, ramie, hemp and decorating techniques involved were embroidery, patchwork, quilting, knot. Second, the purpose of this study is developing culture products with traditional images which also satisfy modern sense. Therefore, items that could be used readily in daily life were selected. Such items include bags, mufflers, name card cases, brooches. In addition, the Korean traditional Patchwork images which have both western-style and modern sense were selected out of the many kinds of traditional lady's art craft works. Third, cultural products (bags, mufflers, name card cases, brooches) were created by DTP in silk with sacdong and free-styled division Korean traditional Patchwork images and quilting technique. The significance of this study lies in examining the possibility of developing modern culture products using traditional lady's art craft work. A way to further develop this study would be to shed new light on traditional crafts and local cultural resources and actively carry on the study of cultural product development to provide the foundation for developing cultural products with modern applications.

• Journal of Fashion Business
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• v.19 no.4
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• pp.183-199
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• 2015

This study aimed to systematize the apparel vendor work processes and provide useful information to future employees of clothing export units by analyzing the processes of vendors' manufacturing tasks. A survey of 20 apparel vendors servicing mainly U.S. buyers was conducted on employees of overseas business departments working for more than five years. buyers. Based on the results, vendors mainly manufactured cut-and-sew knit products. Regarding the production method, OEM was used more frequently than ODM. Fourteen (70%) companies used the ODM method. This suggests that vendors are expanding their production method from OEM to ODM. In order to summarize the work of each business based on the clothing production process research results, buyers were in charge of planning products and the vendors were in charge of sampling. Production of materials and the approval of material tests were out sourced. Overseas factories of vendors were in charge of bulk (mass) production and garment finishing, as well as packaging and shipping the completed products. Even though the vendors' head offices do not directly produce clothes, they play a pivotal role in ensuring planning and management progress in clothing production. As buyers prefer direct contracts for cost reduction, the vendor additionally performs the role of an agent. Also, with the increase in ODM production ratio, the work area of the vendor is expanding. If Korean clothing exporters improve their global competitiveness by investing in the R&D of materials and design to enhance the ODM method, the development of Korea's clothing and export industry will benefit significantly.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.11
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• pp.1672-1681
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• 2002

To evaluate the thermal environments and the workload of farmers in the rice field in summer, this study investigated rice farmers' physiological, psychological responses, work postures, work clothes, air temperature and air humidity during the spraying pesticide in the rice field. Five career farmers (3 males, 2 females) volunteered as the subjects. During the spraying pesticide in the rice field, physiological responses were monitored continuously. The results were as follows. l. Farmers wore only raincoats not pesticide-proof clothing. 2. The value of WBGT, rectal temperature($T_{re}$), mean skin temperature(${\={T}}_{sk}$) were $24.9∼28.9^{\circ}C,\;37.8({\pm}0.3)^{\circ}C\;and\;33.6({\pm}0.6)^{\circ}C$, respectively. Clothing microclimate temperature($T_{cl}$) on the chest and back were $32.5({\pm}2.6)^{\circ}C\;and\;33.6({\pm}2.6)^{\circ}C$, respectively(p<0.00l). Humidity inside of the clothing ($H_{cl}$) was over 80%RH and heart rate(HR) was 112(${\pm}27$)bpm. We evaluated that the spraying pesticide was 'heavy work' by the Tre and HR. To four subjective questionnaires, all farmers expressed 'hard, hot, humid and uncomfortable' without individual difference at the end of works. We suggested that 1) the spraying pesticide in the rice field was a heavy work, 2) because the workload of farmers in the raincoat/pesticide-proof clothing can't be evaluated by only WBGT, assessors should measure physiological, psychological responses as well as thermal environments, 3) to alleviate farmers' heat strain, clothing manufacturers must consider not only the improvement of textile materials and clothing weight but also the designing of personal cooling equipment.

• 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 the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1582-1594
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• 2005

The purpose of this study is to rediscover the value of form in fashion design by developing a new perspective of design appreciation. By examining and modifying the theories of Wolfflin and Belong, this paper tries to of for a new perspective for analyzing the characteristics of form in fashion designers' works. The three new perspective, Flat & Rounded, Closed & Opened and Part & Whole, can be used to analyze the formative aesthetic character of Vionnet's and Dior's works. Ten of Vionnet's and eleven of Dior's representative works selected and applied Delong's visual priority diagram to analyze their character. Vionnet and Dior, emphasized form and construction in their design and applied geometric shapes in their works. The main differences between Vionnet and Dior is that Vionnet's work transforms from geometric shapes in 2-dimentional space to drapery shapes in 3-dimensional space, Dior's work displays geometric shapes in 3-dimensional space. Vionnet created new formative art through the relationship between the clothes and human body. Vionnet's work has distinctively different qualities depending on whether the space is 2-dimensional or 3-dimensional showing transposition of form. In 2-dimensional space, Vionnet's works consist of triangles, rectangles and circles which are 'flat' and 'closed' in quality. These transform to solid forms by draping bias fabrics, which have a 'rounded' and 'open' quality. Dior tended to show artificial form rather than the natural lines of the body which is very different with Vionnet. Dior created clothes by using solid geometric form such as spheres, prisms, cylinders, pyramids and cubes in 3-dimensional space, which were visualized through constructive technique such as dart manipulation, boning, gathering, tucking, pleating, shirring and layering. Dior's works have their own form which does not relate with body shape. So his Works have a 'rounded' and 'closed' quality.