• 제목/요약/키워드: clothing items

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소득계층별 사교육비 증가에 따른 가구의 소비지출 변화 (The difference of the effects of private tutoring expenditure on the change of consumption structure of households depending on income bracket)

  • 백학영;안서연
    • 한국사회정책
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    • 제19권3호
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    • pp.9-47
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    • 2012
  • 본 연구는 가구의 사교육비 지출과 다른 소비지출과의 관계와 소득계층에 따른 그 차이를 분석하였다. 분석결과, 빈곤층의 사교육비 지출 수준은 중산층과 상층가구에 비해 적을지라도, 가구의 소비지출에서 차지하는 비중은 높게 나타난다. 또한 가구의 사교육비 비중이 증가 또는 감소로 인해 조정되는 소비 비목은 소득계층에 따라 차이를 보인다. 즉 중산층과 상층은 사교육비 비중 변화에 따라 탄력적으로 다른 소비를 조정하는 반면, 빈곤층은 탄력적으로 조정할 수 있는 소비 항목에 제약이 있었다. 이는 빈곤층은 사교육비 지출로 인한 소비지출의 제약으로 인해 생활에 필요한 충분한 소비를 하지 못할 가능성을 보여준다. 빈곤층 가구에서 사교육비 지출은 가구의 경제적 부담을 증가시킬 뿐만 아니라 가구 소비의 위축을 가져와 실질적인 경제적 안녕을 저해할 가능성이 높다. 따라서 빈곤층의 사교육비 부담과 지출의 증가로 인한 경제적 안녕의 훼손과 불안정한 소비로 인해 발생하는 제반의 문제를 예방하기 위한 사회적 노력이 필요하다.

패션 CAD 시스템을 활용한 성인남성의 타이트 핏 토르소원형 설계방법 연구 - 휜체형과 숙인체형을 중심으로 - (A study on the design method of tight fit Thorso patterns for adult males using fashion CAD system - Focusing on the sway back somatotype and the bend forward somatotype -)

  • 홍은희
    • 한국의상디자인학회지
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    • 제23권4호
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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.

스텔라 맥카트니 니트 디자인에 표현된 친환경 디자인 특성 (Eco-Friendly Design Characteristics of Stella McCartney's Knit Design)

  • 이연희;박선희
    • 한국의상디자인학회지
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    • 제24권3호
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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.

날씨 데이터 기반 코디추천 스마트옷장 시스템 (Weather Data-Based Coordination Recommendation Smart Wardrobe System)

  • 이태훈;정휘;권장룡;백필규;이붕주
    • 한국전자통신학회논문지
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    • 제17권4호
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    • pp.729-738
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    • 2022
  • 기존의 옷장은 단순한 의류를 보관하는 용도로만 사용되어 왔었다. 단순히 옷들을 보관하는 기능만 있기 때문에 습도나 온도 같은 환경을 조절하려면 따로 제습제 등의 물품을 구매해서 비치하는 방법밖에 없어 불편함이 있었다. 본 논문에서는 기존 옷장에서 편의성을 증대시켜 자동으로 온습도 조절 및 여러 편의 기능에 대한 것을 추가하였으며 기능을 효율적으로 동작 시키기 위하여 실험을 통하여 기능을 동작 시키기 위한 센서의 위치를 정하였고 여러 편의 기능과 실험 데이터를 기반으로 센서를 설치한 옷장 개발과 더불어 최근 다년간 성장한 스마트 홈 시장과 스마트 폰 애플리케이션 시장의 흐름에 맞춰 옷장과 스마트폰의 블루투스 페어링을 통한 옷장 내부의 온습도 조절 기능 및 다른 기능을 스마트폰을 사용하여 사용자에 맞춘 의류선택기능과 애플리케이션 내의 날씨 데이터를 통해 옷장 내부의 옷을 날씨에 맞는 코디 추천 기능 등의 편의 기능을 구현하고자 한다.

한국인 표준 아바타 모델링을 위한 20-30대 여성 체형 분석 (Analysis of Female Body Types in Their 20s and 30s for Modeling Korean Standard Avatar)

  • 홍은희;윤지원
    • 한국의상디자인학회지
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    • 제24권4호
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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.

메타버스에서의 미래주의 패션 조형성 - DRESSX 가상패션 플랫폼을 중심으로 - (Formative Characteristics of Futurism Fashion in Metaverse - Focusing on DRESSX the virtual fashion platform -)

  • 양루이;손수민
    • 한국의상디자인학회지
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    • 제25권2호
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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.

지역적 지속가능성장을 위한 국내 업사이클링 센터 현황 및 운영프로그램 조사연구 (Research on Korean Upcycling Centers and Operational Programsfor Regional Sustainable Growth)

  • 배수정;정경희
    • 패션비즈니스
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    • 제28권1호
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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.

졸업작품 패션쇼 모델의 치수에 적합한 원형 연구 (A Study on Block Patterns for of Korean fashion Models)

  • 박상희;강경희
    • 한국의류학회지
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    • 제32권6호
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    • pp.999-1011
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    • 2008
  • 국내 패션관련 교육기관은 대부분은 졸업작품 쇼를 행하고 있는데, 학생들이 직접 제작하는 작품 쇼의 경우는 시간적, 경제적 인 여유 부족과 정확한 모델 치수 및 이에 따른 인대와 원형패턴의 부재로 의상 제작 후, 사이즈 수정에 많은 시간을 허비하게 된다. 따라서 본 연구는 대학의 졸업작품 진행 과정의 문제점과 필요한 원형의 종류를 조사하고, 현역 A급 모델의 신체 치수를 계측하여 표준 사이즈를 조사하였다. 이를 토대로 아이템에 따른 원형을 제작, 이를 현역 모델에 착장하여 졸업 쇼를 위한 기본 패턴을 제시하고자 하였다. 졸업작품 쇼는 학교에 따라 진행하는 과정과 기간에 차이를 보이지만 대부분 모델 가봉 후 수선 정도가 많고 경우에 따라서는 의상을 새로이 제작하여야하는 경우도 발생하여 모델 사이즈의 기본원형에 대한 필요성이 많이 나타났다. 모델의 신체 계측결과 모델은 일반인에 비해 슬림하고 가는 체형이며 키가 크고 다리가 길다. 여자의 경우 어깨너비가 일반인에 비해 넓지만 가슴둘레와 허리둘레는 더 가늘게 나타났으며 어깨를 편 바른 자세여서 뒷품과 앞품의 차이가 적었다. 이는 남자 모델의 경우도 같게 나타났고 전체적으로 다리길이와 소매길이의 비율이 크게 나타났다. 여자의 경우 토르소와 스커트, 바지패턴을, 남자의 경우 재킷과 바지 패턴을 머슬린으로 제작하여 현재 활동 중인 A급 남녀 모델 각각 2명씩에게 착장하였다. 제작원형들은 그 맞음새가 모두 적절하였고 남녀 모두 상의 경우는 편차가 적은 어깨너비는 고정하고 품과 둘레항목에서 편차를 주어 패턴을 수정하는 것이 바람직하다. 하의의 경우 여자 모델은 엉덩이 부분에 여유가 없는 바지원형을 설계 제시하고, 이는 타이트 핏 팬츠나 스트레치 소재에 사용에 적절하고 여유 있는 바지의 경우는 엉덩이둘레 폭과 밑위너비 폭에 변화를 주는 것이 바람직하다. 남자모델의 경우 하의는 비교적 잘 맞아 수정이 필요한 부분이 없었으며 전체적인 둘레 편차 역시 3cm 내외로 작아 수정의 폭은 작다. 다만 키에 따른 다리길이 편차가 심해 모델에 따라 길이조정 이 필요하지만 전체적인 맞음새에 영향을 주지 않았다. 이와 같이 본 연구에서 제안한 모델 치수는 현재 우리나라에서 활동하고 있는 A급 모델을 기준으로 제안되었으므로 평균적인 모델 치수와 근접하다고 할 수 있다. 또한 연구패턴 역시 현재 모델의 신체에 적절하게 잘 맞았으며 모델 개인에 따른 신체 치수의 편차에 따라 차이를 보이겠지만 본 연구에서 제시된 패턴의 품 조절만으로도 충분히 잘 맞는 패턴으로 사료된다.

마오리族 傳統 服飾과 文身 考察 (A Study on the Traditional Costumes and Tattoo of the Maori)

  • 황춘섭;정현주
    • 복식문화연구
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    • 제3권2호
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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.

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방사선사의 병원감염관리에 대한 연구 (A Study on Hospital Infection Management of Radiological Technologist)

  • 정봉재
    • 한국방사선학회논문지
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    • 제12권6호
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    • pp.727-735
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    • 2018
  • 본 연구는 경남지역에 근무하는 방사선사를 대상으로 병원감염관리에 대한 특성과 인지도 및 수행도를 분석하여 병원근무 시 감염관리에 대한 올바른 인식과 수행 능력을 향상하고, 병원감염관리의 개선 및 방사선사의 감염관리 교육을 위한 기초자료를 얻고자 실시하였다. 연구에 사용한 도구는 설문지로 2018년 04월01일부터 04월30일까지 경남에 소재하는 의료기관에 근무하는 방사선사를 대상으로 설문지 총400부를 배부하여 연구에 적합한 320부를 SPSS 18.0 통계 프로그램을 이용하여 분석하였다. 병원감염관리에 대한 요인으로는 병원감염에 관한 특성 5문항과 병원감염관리에 대한 인지도와 수행도로 손위생관리, 개인위생 및 의복관리, 의료기구 및 소모품관리, 청소 및 폐기물관리, 검사실 및 환경관리 등, 총60문항으로 분석하였다. 인구사회학적특성으로 성별, 결혼, 연령, 학력, 근무기관, 근무경력, 근무부서를 기준으로 기술통계, t-test, ANOVA, 상관관계 및 회귀분석을 하였다. 병원감염관리에 대한 인지도는 $4.19{\pm}.60$점으로 높게 나타났으며, 수행도에서도 $4.22{\pm}.52$점으로 높게 나타나 병원감염관리에 대한 인지도와 수행도에서 경남지역 방사선사들의 병원감염관리 수준은 높은 것으로 분석되었다. 병원감염관리에 대한 방사선사의 인지도 및 수행도는 유의한 상관관계가 있는 것으로 나타났으며, 인지요인이 수행도에 미치는 영향에 대한 다중회귀분석에서는 66.1%의 설명력과 함께 유의한 양의 영향력을 미치고 있음을 알 수 있었다. 의료기관 다양한 부서에서 근무하는 방사선사의 병원감염관리에 대한 인식을 높이기 위해서는 지속적인 감염관리교육과 더불어 병원업무 환경개선을 통한 수행능력을 향상시켜야 하며, 병원감염관리 및 예방교육에 적극적으로 참여하여 병원감염관리 업무에 대한 전문성 확보와 함께 중추적인 역할을 수행하여야 할 것으로 판단된다.