• 한국포장학회지
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• 제20권2호
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• pp.51-57
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• 2014

소비 시장이 증가함에 따른 기업의 영향력 증가로 기업의 사회적 책임과 활동 또한 요구되고 있다. 기업의 사회적 책임이란 이익을 목적으로 하던 기업이 이 외에도 인간의 존엄성 및 환경과 같은 공공선을 추구하는 활동으로 정의된다. 본 연구에서는 기업과 소비자 측면으로 나누어 친환경 포장에 대한 필요성을 일깨우고, 기업의 사회적 책임의 개념에 대하여 소개하였다. 또한 국내외 기업의 사례분석을 통하여 현재 기업의 친환경포장 활동을 고찰하였다. 이를 바탕으로 친환경 포장을 통하여 기업이 사회적 책임을 다해야 하는 이유를 제시하였다.

• 한국문헌정보학회지
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• 제48권4호
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• pp.115-133
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• 2014

이 연구의 목적은 미국의 '한 책, 한 도시' 독서운동 및 National Endowment for the Arts의 'The Big Read(TBR)'에서 Harper Lee의 "앵무새 죽이기"가 보여주는 '한 권의 책(One Book)'으로서의 가치, 이 책을 선정한 지역사회들의 지향점과 다양성 등을 이해하는 것이다. 이 책은 2001년-2014년 사이 86개 '한 책, 한 도시' 프로그램 및 2007년-2015년 사이 138개 TBR 지역사회에서 선정되었다. 많은 지역사회가 용기, 관용, 정의 등 주제로 표현된 인간 존엄성에 대한 공감을 시도하였고, 독서토론, 다양한 프로그램 및 행사로 이 가치를 표현하였다.

• 패션비즈니스
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• 제15권2호
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• pp.23-38
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• 2011

This research is to examine the formative of patterns and characteristics of expression in Danzhai Miao batik of Guizhou China and to reveal the cultural factors and characteristics of artistic expression inherent to it. As the research methodology, theoretical study was done by utilizing the preceding research data, literature data at home and abroad, photo data, and Internet data, and as the empirical research, field trip was made to Guizhou China and investigation and experiment of dyeing techniques, purchase of dyeing craftworks, photography shooting, and interviews were conducted. The results of this research showed that ancient Chinese batik began in Miao in the Jinhan era and the three types of Miao's traditional batik, i.e. Danzhai batik, Huangping batik, Anshun batik. Danzhai Miao batik obtained indigo blue white patterns through traditional production techniques and natural dyeing batik and represented Miao batik of Guizhou. In the expression of Danzhai Miao batik, based on the cultural backgrounds, the formative such as symbolic of patterns, tradition, primitive, reality, abstract, and decorative of dress designs and high dignity of artistry of creative batik patterns be found from the aspect of expressing magnanimous nationality.

• 한국의류학회지
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• 제14권2호
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• pp.164-176
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• 1990

Kok-Ryung covers the collar of underwear and protects the neck. It is between outer garment and underwear and its form is bent. According to literature, Cheom-Yu, Keup, and Pang-Ryung belong to Kok-Ryung. Kok­Ryung was used in Yemaek and also it was used as a part of the uniform of government officer in Song Dynasty. The results of the study were as follows: 1) With the changes of the times, Cheom-Yu was used in Ju Dynasty, Pang-Ryung was used in Han Dynasty, and Kok-Ryung was used from Nam-Jo through Soo, Tang, Song Dynasity. 2) Cheom-yu, Pang-Ryung, and Kok-Ryung were all made of long rectangular cloth. How­ever, Chemo-Yu and Pang-Ryung were adjusted in front of the neck, Kok-Ryung was adjusted on the back. 3) The purpose of Kok-Ryung was practial one of sweat clothes at first. But it became for decoration and dignity gradually. Therefore, the users of it were changed from the common people to high government officers. 4) Cheom-Yu, Po-Ryung, Keup, and Pang-Ryung were all a kind of scarf and they are the same with Kok-Ryung in the respect. They were put on between outer garment and underwear or attached under the collar of outer garment. 5) Kok-Ryung of Song-Sa seems to be the round collar the uniform of government officers and it is different from Kok-Ryung of Suk-Myung.

• 한국의류학회지
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• 제35권3호
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• pp.267-280
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• 2011

This study examined bag purchase behaviors for male consumers based on fashion attitudes. Data research were conducted on 304 males in their 20s and 30s located in Seoul & Gyeonggi province. The SPSS 17.0 software program was used to conduct data analyses such descriptive statistics, frequency analysis, factor analysis, cluster analysis, $X^2$-test, t-test, ANOVA, and Scheffe's test as a post-hoc analysis. The results of this study were as follows: Fashion attitude was identified with four factors personality, social recognition, practicality, and dignity. Customers were segmented into three subdivisions: conspicuous, recognition of individual style, and practicality of clothing. The factors derived from the factor analysis of selection criteria included intrinsic attributes and extrinsic attributes. Males in their 30s valued the intrinsic attributes and males in their 20s valued extrinsic attributes. The group of conspicuous of clothing, valued both intrinsic and extrinsic attributes as important. The factors derived from the factor analysis of bag pursuit benefit included pursuit of fashion/economic, famous brand, quality/convenience. Males in their 20s and 30s pursued famous luxury brands and fashion attitudes had a positive relevance to the bag pursuit benefit.

• 디자인학연구
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• 제16권1호
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• pp.199-208
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• 2003

The Israel-born Ron Arad is one of Britain's "superstar" designers, an it has been said that he is Britain's answer to Philippe Starck. Arad is a highly individualistic designer whose ideas stem from a mental process that has more in common with that of the fine artist than of the jobbing designer for industry. His imagination expresses itself in the form of things. By the early 1990s he had become internationally recognized for his "ready-made" work. His furniture and lighting designs required extremely costly labour-intensive techniques to produce. As his work was highly evocative, suggesting a post-industrial world in which the urban landscape was characterized by materials in a state of decay. More recently, through collaborations with Italian and German manufactures, his work has reached a new level of sophistication and finish, which differentiates it from the earlier designs. As Arad reputation as a designer of workshop-based furniture came to an end and the era of "democratic" Arad furniture came into being. By middle of the decade he had become one of the most-discussed designers of the day. The spirituality that emanates from all his work is a product of his particular vision of the creative process, far removed from the typical, stereotyped trends in the sphere of modern industrialization. He goes one step further in his work by attempting to restore aesthetic dignity to the objects of daily life, in a search for beauty within the immediate environment.hin the immediate environment.

• 패션비즈니스
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• 제7권6호
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• pp.10-20
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• 2003

The object of this research is to develop the designs with aesthetics and function for making the uniforms of specialty restaurants of Korean dishes in pursuit of the image of excellent dignity and its result is as follows: As for designs, this research chose the traditional image as the basic concept and made visual Korean lines, colors, and patterns. As for lines, it made visual the curve of the eaves, the straight line of polls, and the fret of windows and doors represented in architecture and applied them, as for color tones, it chose traditional 'Obangsaek', five direction colors. As for the patterns, it symbolized 4 trigrams( Geon, Gon, Gam, and Yi), the cloud pattern, also it tried to get the formative beauty from traditional patchwork wrapping cloth and windows and doors. The expectant effects on the design of Uniform are as follows: First, it offered basic clothes for male and female employees working in the hall and suggested two kinds of skirt and pants for the latter. It tried to find out both the function of pants and the female beauty of skirts by wrapping on pants to eliminate the feeling of rejection towards the style of them, the use of which have been recognized for man only in spite of many merits of them. Second, it sought for the characteristics of shape on collar, breast-tie, and fold etc. of Korean clothes and designed clothes according to each employee's role and finally emphasized their traditional aesthetics.

• 한국의류학회지
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• 제33권1호
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• pp.115-126
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• 2009

This study is about the iconological analysis on woman and clothes of Richard Avedon's and Cindy Sherman's constructed photographies which have questioned about life and existence of woman and present new visions about woman in comtemporary society and culture. The woman in R. Avedon's disguises herself with clothes, while the woman in C. Sherman's changes herself depending on the circumstances. R. Avedon reveals the inside of woman and ego with his gaze. The woman in his photography is reborn as another-self and communicates with the viewer through her eyes. C. Sherman has cast doubts with a woman's point of view in the way of making herself as an object in her works. C. Sherman has presented a new way of thinking about woman's body and ego. The viewer gives feminity and identity to the woman in C. Sherman's photography who has kept asking a question about woman-herself. The identity of woman in the photography has been changed depending on what she is wearing, what she is doing and where she is. Like this, the clothes which she puts on becomes another-self and also expresses life and dignity of the woman.

• 디자인학연구
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• 제20권2호
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• pp.17-28
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• 2007

Despite a current fascination with East Asian iconography such as Zen Style among contemporary designers, there is a lack of genuine cross-cultural discourse that could enable us to share essential design experiences. To bring the discussion a deeper level, traditional Japanese tea-house in its design philosophy of body-mind interplay is explored. Tea-house is a superb manifestation to reveal a holistic understanding of the world. Nondualistic realization is generally associated with the dominant tendency of traditional East Asian philosophy, namely the view that the self and environment, and that the mind and the body exist in unity. The essence of tea-house is not in its poetic style or meticulous details, but in its unmistakably monistic approach of creating inseparable form, function and meaning. Tea-house bestows dignity upon restraint, imperfection, discomfort, poverty, and even humility. This concept offers a tremendous insight since it implies that the rational and effective design solution to the greatest degree is not sufficient. Perhaps the most challenging question about tea-house is: How does our experience with human-made 'design' in the broadest sense help both our body and mind attain a full harmony of being? It is the heading which this research inquires.

• 패션비즈니스
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• 제17권5호
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• pp.1-13
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• 2013

The purpose of this study is to examine the power images in the style of a leader: through the focus on the portrait of Henry VIII. Study methods on the literature concerning viewpoints of power and image in the early modern age and the subjects of power are being used for theoretical backgrounds; and the visual data from National Portrait Gallery, British Library and the internet are used for exploratory studies. The results of this study are as follows. First, from the style of Henry VIII who represented the image of political power, the modern political phenomenon can be defined. Such phenomenon which displays images of political leaders from the study indicate an effective strategy. Second, the religious, a diplomatic representation for the style of Henry VIII powers, such as costume style and somatic visual images, represents the dignity and power by delivering visible internal attributes. Thus, the role model recognized by the society and the public's perception of leadership style affects the acknowledgement and belief by the people.