• 한국미생물·생명공학회지
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• 제31권1호
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• pp.42-45
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• 2003

토양에서 분리한 균주 Trichoderma sp. SO-571의 cellulase를 생산하기 위해 3.0% cellulose, 4.0% 탈지대두, 3.0% 밀기울, 0.5% ($NH_4$)$_2$$SO_4$, 0.2% urea, 1.0% CSL, 0.5%$ KH_2$$PO_4$, 0.2% Tween 80을 사용하여 생산한 결과, 균체량은 배양 62 시간에 가장 높은 양을 보였으며, cellulase 활성은 배양시간이 증가할수록 증가하는 경향을 보였다. Ultrafiltration을 이용하여 cellulase를 정제한 결과, 47.8%의 수율과 4.6배의 정제도를 보였다. Cellulase를 섬유가공 처리에 사용하기 위한 최적 반응 pH및 온도는 pH 5, $60^{\circ}C$에서 최대의 활성을 보였다 섬유가공 처리에 대한 cellulase효과를 측정하고자 청천과 텐셀을 대상으로 감량율을 측정한 결과, 청천에 대한 감량율은 분리균주가 생산한 cellulase는 2.9%, Celluclast 1.5 L은 2.2%의 감량율을 보였다. 텐셀 처리시 분리균주의 cellulase는 0.62%, Celluclast 1.5 L은 0.45% 감량율을 보였다. 또한 반응시간에 따른 천청에 탈색정도를 측정하고자 세탁 가공처리한 물의 청색정도를 660nm에서 측정한 결과, 세탁시간이 증가할수록 흡광도가 증가하였다.

• 복식
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• 제55권7호
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• pp.76-88
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• 2005

The aim of this study is to define the concept of the matchless, and its social and cultural origins. I shall also define the different types of Matchless style, the respective characteristics of each style, and the distinguishing features of this style in domestic street fashion. In order to do this, 1 have referred to several published studies and a number of Web-sites of Korean fashion information companies for my research. The results of this study are the following; 1. The concept of matchless is a positive way of self-expression by coordination, created by consumers who attach great importance to their image and to developing their individual style. Also, this concept constitutes a new approach to code which reanalyzes existing styles with a new sensitivity. 2. The social & cultural origins of matchless are the expansion of fear of war and terror, and economic depression, the extension of the 5-day workweek, interest in 'Well-being', and the phenomena of cultural diversity. 3. The types of Matchless are Style Matchless, Theme Matchless, Texture Matchless, Season Matchless, and Complex-Layered Matchless. 4. The distinguishing features of Matchless in street fashion are the distinction of formal & Casual wear's Matchless, the creation of a new Look in Sports & Casual wear's Matchless, the development of a new coordinated, layered look, the immense popularity of Denim, the new fashionable versions of Military style, and the renaissance of the Romantic Feminine Look.

• 복식
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• 제48권
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• pp.197-216
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• 1999

This study reflects the aim of analyzing the formality and symbolism of the Chanel suit. Chanel had designed jersey and tweed cardigan suits in the 1910s and 1920s while her suits of the 1930s were crisply fitted. The suits of the 1950s and 960s while were comfortable and slightly boxy marked a significant step forword. Lagerfeld's mission at Chanel was to tranmute the basic elements of the Chanel style and make them contemporary. He has also introduced the contemporay wide shoulders and short tihht skirt In place of sensible knee-length skirts he offered hemlines that either grazed the ankles or exposed most of the thighs. Besides her very influential jersey and tweed cardigan suit Chanel continued to assert her considerable strength with materials often making her suits in very delicate feminizing fabrics. in place of the classic boxy tweed jacket Lagerfeld introduced jackets made of terrycloth denim and stretch fabric Many of Chanel's suits show a stylish sense of colour that would have made artist envious. Chanel and Lagerfeld chose variety of colours from beige and grey and black to blue green cerisen and red for her suits. They was completely in tune with the twentieth century understanding the changes in lifestyles of woman and also understanding how her clothes should cater to them Thus the Chanel suit is more a way of life than just a fashion and is synonymous with wealth and aritocracy. It is one of the most popular status-symbol styles of the 20th century.

• 한국의류산업학회지
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• 제15권1호
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• pp.1-11
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• 2013

This study analyzed the expressive characteristics of padding in contemporary fashion. The methodology of this study was quantified through documentaries, fashion collections, and internet news. The results of expressive characteristics and methods were as follow. First, variability showed the creation of dwelling space by air filling, detail mode by zipper, and diversity of recycled filling by zipper pocket. It reflected the pursuit of nomadism and subversion of permanence by change of filling. Second, it was sexual symbolicity that showed the blurred androgynous silhouette by air filling and padding bar design of the chest, stomach, shoulder for the male body silhouette. It emphasized male sexual identity and power through the expression of a modern ideal body. Third, decoration displayed various crafts (such as knitting), various fabric such as polapolis, suedette, corduroy, denim, leather, knit, and spangle. It reflected visual pleasure, scarcity and various interpretations. Fourth, playfulness character forms throug hair filling, unfamiliar fashion items, diversity of silhouette and change of uses. It reflected a pleasant feeling through astonishment and surprise, nostalgia involved in memory and childhood play and disembarrassment from reality. Fifth, simplicity showed the elimination of a sportswear's factor with regular wad quilting, elimination of wad quilting, wad quilting following the structural line of clothes and the structual line of clothes omitted. It reflected disembarrassment from stereotype and an emphasis on essential elements.

• 한국의류산업학회지
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• 제10권5호
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• pp.721-730
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• 2008

The purpose of this study is to analyze the tech fatale fashion image in female models of mobile advertisements and to find the fashion characteristics. The tech fatale emerging as new culture code is a compound word of the femme fatale and technology. It is characteristics of the femme fatale, the post digital culture and the female leadership. The findings of the study were as follows : The tech fatale types were the independence, the transformation and the tradition. The independence was a self expression, appealed to visual image, was showed the coating fabric, denim, space look and street fashion and reflected the creativeness and digital generation. The transformation appealed to sexuality and was showed luster fabric, exposure, body-conscious, glam look. The voluptuous beauty represented the pride of the post digital generation. The tradition appealed to emotion and was showed pale color, simple line, soft texture fabric and a feminine Image. The meanings of tech fatale were the imagination, the public, the duality, the game, the purity and the recurrence. The formative characteristics reflect the mind of post digital generation who is against authority and pursues the human being worth such as the identity establishment and the pure emotion.

• Membrane and Water Treatment
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• 제8권1호
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• pp.1-18
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• 2017

In this study, reuse of biologically treated wastewater of denim washing and dyeing industry has been evaluated by membrane technologies. After that experiments were carried out at laboratory scale in textile dyeing unit by using obtained permeate water samples on 100% cotton based raw fabric belonging to examined industry. During membrane experiments, two different UF (UC100 and UC030) and two different NF (NP010 and NP030) were evaluated under alternative membrane pressures. In permeate water obtained on selected samples, conductivity at the range of $1860-2205{\mu}S/cm$, hardness at the range of 60 to 80 mg/L, total color at the range of 2.4 to 7.6 m-1 and COD at the range of 25-32 mg/L was determined. The following analyzes were performed for the dyed fabrics: perspiration fastness, rub fastness, wash fastness, color fastness to water, color fastness to artificial light, color measurement through the fabric. According to analysis results, selected permeate water have no negative impact on dyeing quality. The study showed that membrane filtration gave good performance for biologically treated textile wastewater, and NF treatment with UF pre-treatment was suitable option for reuse of the effluents.

• 한국의류학회지
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• 제26권11호
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• pp.1605-1614
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• 2002

The purpose of this study was to identify the consumers who use the level of price as the indicator of the product quality. In order to implement the purpose of this study, Jeans market had been segmented by the mixture regression model, and price response function was calibrated for each segment. Based on the types of price response function, segments were allocated into one of two groups; the group using the level of price as the quality indicator or the group not using the level of price as that. Then, characteristics of both groups were compared in terms of product attributes and demographic variables. Data were co]looted from the sample of the 23o undergraduate and graduate students in Seoul. For the data analysis, mixture regression model, conjoint analysis, and t-test were used. As a result, jeans market was divided into 5 segments. Segment 1,2,3 were allocated into the group not using the level of price as the quality indicator while segment 4,5 were done into the other group. Significant differences existed between two groups in product attributes, not in demographic variables. Mixture model and conjoint analysis were proved to be an effective set of tools in market segmentation.

• 한국의류학회지
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• 제26권11호
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• pp.1527-1576
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• 2002

Quick Response based Mass-Customization can be produced and distributed customized goods and services on mass basis in apparel e-business. Because consumers can: t touch and feel the apparel products in e-business, they tend to have the negative buying behavior. The purpose of this study is to investigate the differences of consumer's texture sensibility of apparel products based on marketing channels (on-line/off-line). Two types of questionnaires for on-line and of f-line were used to assess consumer sensibility on apparel fabric. The 8 swatches were selected in regard to the previous literatures. 205 questionnaires for each type (on-line/off-line) were distributed. Statistical devices were t-test, mean and standard deviation with SPSS10.0. The result of this study was showed that there were partially significant differences on consumers' texture sensibility on apparel products between on-line and off-line. Under on-line environment, consumers perceived corduroy as warm, strong, and sandy. taffeta as warm, sandy, and glossy, denim as sandy, and warm, organza as sandy, and thin, satin as sandy, dense, and modern, chiffon as sandy, and flat, velvet as warm, and soft, single jersey as warm, soft, and comfortable. Therefore, apparel firms cooperating based Mass-Customization in e-business have to pay attention to the differences on consumers’ texture sensibility of on-line apparel products from those of off-line.

• Human Ecology Research
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• 제53권1호
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• pp.81-92
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• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

• 한국의류학회지
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• 제22권6호
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• pp.716-724
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• 1998

The purpose of this study is to investigate the washing methods specified on care labels of blue jeans and to examine the appropriateness of the specification. In the study, the present condition of care labels on 100% cotton blue jeans was investigated and the consumers' washing methods of blue jeans were surveyed. Also, the shrinkage of blue jeans after washing was measured. The major results were as follows: 1. In spite of the fact that same materials of 100% cotton denim were used in all cases, washing signs on care labels showed very differently and the symbols of hand wash, using light duty detergent, no wring, drying in shade, and warm ironing with a covering cloth were demanding too high level of care for the protection of blue jeans. 2. Almost all consumers didn't follow instructions proposed on care labels because they didn't anticipate problem. In reality, most consumers washed blue jeans by machine in cold water with heavy duty detergent at standard course, dried under the sun, and didn't iron. The 40.8% of consumers didn't have problems even if they didn't follow instructions. Most problems happened after washing were shrinkage in length, but in shrinkage test after 15 times washings, it was found that there was no serious shrinkage problem. 3. For ideal care of blue jean, it is necessary for manufacturers to recognize the importance of care label and to stick correct appropriate care label. Also, consumers have to trust and follow instructions on care label.