• 복식문화연구
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• 제9권6호
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• pp.881-892
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• 2001

Applying the globalization theory to the fashion phenomena which regarded the phenomena of the contemporary culture as globalization, this study had an object of looking into the globalization tendency of the fashion phenomena shown Paris, London, Milno, New York, Tokyo, and Seoul collections from 1995 to 1999. The results of this study were as follows; 1. It was the blend of romanticism that was the most common trend shown at the six world collections. 2. The works appeared at the six world collections showed the regional peculiarity under the historical background or the sociocultural influence each city had. 3. Another character appeared at the six city collections was the appearance of multi-ethnic style mixed various regional motive at a work. After all, the world fashion phenomena in the second half of 1990's could be condensed into globalization appeared homogenization, regionalization and hybridization at the same time.

• 한국문헌정보학회지
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• 제2권
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• pp.79-102
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• 1971

The P'aerim and the Taedong Yasung are the two better known among unofficial history collections of the Yi Dynasty still available. The compilers and writers of unofficial historical records generally were people without official connection with the incidents recorded, and were thus in a position to be critical in their evaluation. Therefore, in order to gain a balanced view of Korean history, these unofficial history sources must also be consulted. However, there are differences in the contents of various unofficial history collections, even though the titles may be identical. For this reason, the writer has made a comparative study on the. contents of both the P'aerim and the Taedong Yasung. As a result, various differences between the two collections are noted. This points out the need for continued research on collections of unofficial historical records.

• 한국기록관리학회지
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• 제16권3호
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• pp.31-67
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• 2016

최근 다양한 형태의 디지털 기록물들이 증가하면서 이를 기술하고 접근을 제공하는 방식에도 변화가 요구되는 실정이다. 미국, 호주, 영국 등 해외의 문화유산기관에서는 방대한 양의 기록을 한 눈에 브라우징 할 수 있도록 해주는 인터랙티브 시각화를 도입하여 기록물에 접근하는 방식을 다양화하고 있다. 본 연구에서는 인터랙티브 시각화 기법을 기록물에 적용하기 위해 인터랙티브 시각화의 필요성을 조명하고 해외 문화유산기관의 인터랙티브 시각화 사례를 분석하였다. 사례분석을 통해 도출한 공통된 시각화 요소 및 기법을 적용하여 국가기록원의 기록물을 다양한 방식으로 시각화하였다.

• 한국비블리아학회지
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• 제20권1호
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• pp.151-164
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• 2009

이 연구는 공공도서관의 소장자료를 대상으로 공공도서관 장서의 주제별, 연령별 소장현황을 분석하는데 그 목적이 있다. 소장자료의 주제별, 연령별 분석을 통해 공공도서관 장서의 주제별 분포와 노후화 정도를 파악하고자 하였다. 전국의 423개 공공도서관이 분석대상이었으며, 한국십진분류표(KDC)가 주제별 소장현황분석을 위한 기준으로 사용되었고, 자료의 출판년도가 소장자료의 최신성 혹은 노후화정도 분석을 위한 기준으로 사용되었다. 분석결과, 공공도서관 장서는 주제별 불균형이 심각한 것으로 나타났다. 특히 문학과 사회과학의 비중이 전체 자료의 54.8%를 차지하는 것으로 나타났다. 공공도서관 장서의 최신성은 비교적 우수하였으며, 2000년 이후 발간자료의 소장비율이 전체 자료의 64.9%를 차지하였다.

• 한국의상디자인학회지
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• 제19권2호
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• pp.129-144
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• 2017

Throughout the rich human history, patterns have developed as a symbolic sign and representation of the inner psychology of human beings. Thanks to its intrinsic beauty and emotional richness, the flower has been utilized as a one of the major materials for patterns used in everyday life and art. As a product of nature, floral patterns have played a key role in fashion trends as a Surface Design with other elements of fashion design such as silhouette, fabric and color. Therefore, this research sought to identify the trends of floral patterns of women's garments that appeared at the four major global fashion collections (Paris, Milano, New York and London), and to analyze how importantly the fashion magazines' prediction were applied in the actual collections. Furthermore, the research aimed to suggest possible methods to utilize trend magazines for collections in the future. As a main research method, the authors investigated professional fashion literature and internet websites to extract a total of 4,681 items presented by sixteen designers who participated in the four major global fashion collections each time during the period of the 2012 S/S~2017 S/S seasons. First View Korea and Samsung Design Net were used as major sources for the pattern extraction and analysis. According to the analysis, floral patterns account for 31%(1,454 items) among the total number of patterns appearing in the four major global fashion collections(4,681 items). For the reflection ratio, Samsung Design Net recorded a 4% higher ratio(52%) than First View Korea(48%). Based on the data and analysis of this research, the authors expect that floral patterns in various forms will be continuously presented in fashion collections, and conclude that utilizing fashion magazines is highly useful due to their appropriate predictions.

• 복식
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• 제56권7호
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.

• 복식
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• 제66권3호
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• pp.51-74
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• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.

• 한국문헌정보학회지
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• 제44권4호
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• pp.457-477
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• 2010

현재 공공도서관의 장서평가는 개별 도서관의 장서 이용량, 그리고 상호대차 실적 등의 단순한 데이터로만 평가하고 있다. 그러나 지역단위 도서관내에서의 상호대차를 촉진시키고 장서의 활용도를 높이기 위해서는 장서에 대한 평가도 개별 도서관 단위에서 지역단위 도서관으로 그 범위를 확대할 필요가 있다. 이 연구는 지역단위 도서관 시스템 내 개별 도서관에서 수집할 수 있는 장서, 수서, 대출, 상호대차 신청 데이터를 대상으로 네 가지 분석방법을 통해 지역단위 도서관 시스템에서의 이용 중심적 장서평가 방법을 제안하는 것을 목적으로 한다. 제안한 평가 방법을 적용해본 결과 지역단위 도서관 시스템 내에서 개별 도서관의 입지와 장서 구성의 특성 및 이용자의 요구를 세밀하게 파악할 수 있는 것으로 나타났다.

• 복식
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• 제65권5호
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• pp.14-34
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• 2015

The aim of this paper is to analyze the relationship between the inspirations and designs of Dries Van Noten's women's collections from 1994 S/S to 2014 F/W. From the research purpose the following questions arise: how are the brands of Dries Van Noten developed and what are the important features? What are 'the roots of inspiration' for Dries Van Noten's women's collections from 1994 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How are the roots of inspiration categorized, what are the features of each category, and how do these roots of inspiration influence the Noten's designs? The paper is a practical reference of how ideas turn to practical works and what is the relationship between inspiration and design. Researchers utilized a qualitative research method to provide a systematic review of the previous studies. To sum it up, roots of inspiration of Dries Van Noten's women's collections can be classified into seven categories: 'ethnic', 'trend & style', 'flowers', 'artists', 'interpretation', 'fabric & pattern' and 'multiple contents'. Through the roots of inspiration, sensibility of Belgium, inquiry of ethnic & oriental, Artists, England, longing of street fashion, 1920's & 1950's trend & style of French high fashion, romanticism, atmosphere of medieval, gypsy, punk and hippie are extracted and applied to the designs through cross impact. The identities of Dries Van Noten's women's collections are fusion and harmony of cross culture and diversity.

• 패션비즈니스
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• 제13권6호
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.