• 한국사회정책
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• v.19 no.3
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• pp.9-47
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• 2012

The purpose of this study is to analyse the change of consumption structure of households due to spending on private tutoring, then analyse the difference of change depending on income bracket. The results of the study show that the proportion of private tutoring spending of poor households is relatively higher than high or middle income households although the amount is smaller than them. The consumption items adjusted by the change of private tutoring spending are different depending on income level, and adjustment possibility of them of poor households is very lower than other classes. These show their risk of insufficient consumption of food, clothing, and shelter is high. The burden of private tutoring spending of the poor increase the economic insecurity, therefore various supportive approaches such as improvement of the quality of public education, economic support the poor suffering from the burden of private tutoring spending are necessary to prevent the latent problems of the poor and their children.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.4
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• pp.149-166
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• 2021

This study tried to suggest a drafting method to draft tight fit torso patterns suitable for adult males with a sway back somatotype and a bend forward somatotype by setting and distributing the ease through the completion of the somatic surface pattern using the 3D body surface segment method. It was intended to be presented as a drafting method. As for the research method, the suitability of the somatic surface patterns and the tight fit torso patterns were confirmed by the evaluation of virtual wear, and the patterns were modified and supplemented. The research results are as follows. In the first evaluation of the tight fit torso patterns, the average, for 55 evaluation items, was 3.92 points for the sway back somatotype and 3.89 points for the bend forward somatotype. In the second evaluation, the bend forward somatotype was 4.51 points and the sway back somatotype was 4.62 points. The chest circumference ease amount for the bend forward somatotype and the sway back somatotype are 6.5% (6.8 cm) and 7% (6.8 cm) of the chest circumference, respectively, and the distribution of the front and back ease is the same at 4:6 (2.72 cm:4.08 cm). The waist circumference ease amount is 6.5% (5.8cm) and 6.5% (5.6 cm) of the waist circumference dimensions, and the distribution of the front and backease are 5:5 (1.45 cm: 1.45 cm) and 4:6 (2.24 cm: 3.36 cm), respectively. The completed tight fit torso patterns were converted into institutional formulas and presented as a drafting method.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.3
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• pp.17-31
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• 2022

The purpose of this research is to suggest diverse directions for eco-friendly knit designing through analyzing the characteristics of Stella McCartney's knit designs. The first stage of the research was to explore the characteristics of eco-friendly fashion design based on literature review. The next stage was to categorize the characteristics of eco-friendly design found in Stella McCartney' knit fashion based on the precedent analysis. The data collected showed 274 examples from 40 Stella McCartney collections, including Spring, Resort, Pre-Fall, and Fall Ready-to-wear collections between 2013 and 2022. All information was collected using www.vogue.com. As a result, the characteristics of Stella McCartney's knit design were classified into four directopms: 1) Perpetual Naturalism, 2) Cultural Complexity, 3) Practical Functionality, and 4) Subcultural Reproducibility. The first characteristic, 'Perpetual Naturalism' values the continuous symbiosis between animals and human beings, thereby protecting global environmental value. Stella McCartney's knit design continuously showed a longing for nature's beauty through fashion design, which allowed people to enjoy the meaning of symbiosis between human beings and animals. Second, 'Cultural Complexity' is the characteristic that appears in Stella McCartney's knit fashion design when collaborating with various artists and/or mixing traditional knit motives inspired by traditional cultures and retro moods. Third, 'Practical Functionality' is the design characterisitic that allows items to be worn for a long time as it is comfortable, simple, and practical. Stella McCartney's knit designs pursue easy-to-wear designs that are comfortable and have practical designs with simple details. Lastly, 'Subcultural Reproducibility' showed in Stella McCartney's knit designs reflect Hippie culture, which pursued a rejection of conventional values, and promoted sustainable energy. This culture peaked in the 1960s and 1970s, when 'Beatles' were mainly working. Additionally, retro styled knit designs inspired by other various music genres from the 1980s and 1990s appeared in this category as well.

• The Journal of the Korea institute of electronic communication sciences
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• v.17 no.4
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• pp.729-738
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• 2022

Existing wardrobes have been used only for storing simple clothes. Since it has a function to store clothes, there is only one way to control the environment such as humidity or temperature, and there is only one way to purchase and store items such as a desiccant. In this paper, by increasing the convenience in the existing wardrobe, automatic temperature and humidity control and various convenient functions were added. In line with the smart home market and smart phone application market that have grown over the past several years, along with the development of a wardrobe with sensors, the temperature and humidity control function and other functions inside the wardrobe through Bluetooth pairing between the wardrobe and the smartphone can be customized to the user using a smartphone. Through the clothing selection function and the weather data in the application, we want to implement convenient functions such as the function of recommending clothes in the closet to match the weather.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.57-72
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• 2022

This study categorized and analyzed the body types of adult women in their 20s and 30s using 3D human measurement data from the 8th Size Korea, and intended to construct body shape and dimension data necessary for modeling Korean standard avatars. Data analysis considered data from 1302 adult women in their 20s and 30s, and a total of 49 index values, drop values, and angle items were subjected to factor analysis and one-way ANOVA to categorize the body type, and Duncan test to post-verify significant differences by type. As a result of conducting factor analysis, 13 factors were extracted and were categorized into 4 body types. Type 1 is short in the upper torso, long in the lower torso, long in the arms and legs, and has a upright body shape and sagging shoulder. Type 2 is short in the torso, arms and legs, and has large torso flexion and lower body circumference. Type 3 has abdominal obesity with small torso flexion and lower body circumference. Type 4 is a small body bending forward type. For the distribution of body types by age among those in their 20s and 30s, the highest appearance rate was Type 1 and was therefore selected as the represntative body type. The body type information of this study will be used as basic data for developing standard avatars.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.2
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• pp.135-150
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• 2023

The purpose of this study is to understand the formative characteristics of futuristic virtual fashion revealed in virtual fashion platforms targeting the human body. First, the current status of fashion in the metaverse and futurist fashion were reviewed and summarized by referring to prior research. Next, among the items posted on DRESSX, "futurism" was searched and those resturning a positive result were collected as research subjects. The characteristics were organized into design elements: colors, shapes, materials, and patterns. Futuristic aesthetic characteristics were derived from the characteristics of each design element. As a result, color showed the characteristics of achromatic, vivid and neon colors, multi-color and gradation, multi-color due to reflected light, and color conversion. As for the form, a body-concious look or exaggerated silhouettes, spatial expressions in geometric structures, forms imitating living things, and fluid silhouettes using clouds were prominent. Materials showed the digitization of universal clothing materials, application of industrial materials, use of metal materials, and unrealistic materials. In the patterns, geometric abstract patterns, patterns that reveal the digital world view, and moving fluid patterns appeared. The aesthetic characteristics of futurism in virtual fashion were revealed in four categories: visual dynamics, high-tech sensibility, variability, kineticisim. Visual dynamics were revealed in geometric forms, and intense neon colors. High-tech sensibility was prominent in the use of metal and industrial materials, light emission, and patterns of the digital world view. The expression of multiple colors by reflected light and the change showed the variability of futurism. The use of unrealistic materials, such as clouds and fire and fluid silhouettes expressed kineticisim. The infinite expressiveness of virtual fashion made it possible to actively express the aesthetic characteristics of futurism.

• Journal of Fashion Business
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• v.28 no.1
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• pp.98-112
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• 2024

The purpose of this study was to provide basic information on the development of local governments and upcycling industries that want to establish centers in the future. The study investigated the current situation and programs of domestic upcycling centers for regional sustainable growth. As a result of comparing and analyzing the programs operated by the upcycling centers by region, they could be classified into culture and arts experience programs, resource circulation experience programs, and environmental culture education programs according to the nature of the operation programs that are more focused on in addition to the experience and education programs reflected by each center. Among the upcycling materials and items used in the operation program, fashion-related education was being operated in a more diverse manner in the area of culture and arts experience programs. As a result of the analysis, it was found that it was necessary to establish a smooth material supply network, develop an in-depth step-by-step upcycling fashion education program, and strengthen the upcycling center program using regional characteristics. The results of this study are significant in that they provide the local governments with basic information for the establishment of upcycling centers in areas where the upcycling centers have not been established. In addition, this study presents the types and directions of programs necessary for establishing upcycling centers in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.6
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• pp.999-1011
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• 2008

To most of the students studying fashion related major, the graduation fashion show is a big challenge. They have to put together all they learn and show what they can do to their future employers. They design, pattern work, and make up garments for the show all by themselves. Unfortunately. while they make up their garments, they usually don't Dow exactly body measurements of the models. So quite often they have to alter their art works up to the last minute of the fashion show opening. Sometimes such unadequate work process ruins their work. The purpose of this study is to suggest block patterns of Korean fashion models measurements for basic items, such as jacket and pants for male models and torso length block pattern, skirt and pants for female models. 20 male and 20 female professional models were measured. The block patterns were based on their measurements. After the first fitting test, patterns were corrected by their body characteristic. For both male and female models, it was found desirable to fix the shoulder width and make an adjustment to the patterns with a deviation of width and girth items. In case of the resultant patterns the satisfaction was made better. Model sizes proposed in this study are considered closer to the size of average models, since they were based on A-grade models who are currently working in Korea. The resultant patterns can be produced by simply making a slight adjustment to the width of the proposed pattern in this study.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Journal of the Korean Society of Radiology
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• v.12 no.6
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• pp.727-735
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• 2018

Targeting the radiological technologists working in Gyoungsangnam province, this study was performed to obtain the fundamental data to improve the competency and right awareness of the hospital infection management, and to educate infection management of radiological technologists by analyzing the status, awareness, and performance of the hospital infection management. During April 1, 2018 to April 31, 2015, after we sent out a total of 400 questionnaires for the survey to radiological technologists working at the clinic located in Gyoungsangnam province, 320 questionnaires suitable for research were analysis by using SPSS 18.0 statistical analysis software. As the hospital infection management factors, 5 items for hospital infection and 60 items of the awareness and performance for the hospital infection management were used. 60 items of the awareness and performance for the hospital infection management were consisted hand hygiene, personal hygiene and clothing, medical equipment and supplies, cleaning and waste, examination and environment. And as the sociodemographic characteristics, the gender, marriage, age, level of education, working organization, working period, and working department were used. Consequentially, the awareness for the hospital infection management($4.19{\pm}.60$) and the performance($4.22{\pm}.52$) were confirmed as high level. Using these results, the hospital infection management level of the radiological technologists working in Gyoungsangnam province was found to be high in arareness and performance of hospital infection management. There was a significant correlation between the degree of awareness and performance of radiological technologists for hospital infection management. Furthermore, in the multiple regression analysis of cognitive factors on performance, it was found that 66.1% explanatory power had a significant positive influence. In order to improve the awareness of hospital infection management of radiological technologist working in various departments, the infection management education and improvement of hospital work environment are necessary. And also, It is important to participate actively in hospital infection management and preventive education and to play a pivotal role in securing expertise in hospital infection management.