• 한국의상디자인학회지
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• 제19권3호
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• pp.207-218
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• 2017

This study evaluates the difference in visual images according to changes in waist position and pants style. The researcher made twelve stimuli-combination of four pants styles (classic, baggy, skinny, bell-bottom) and three waist positions (0cm, -3cm, -5cm). The test involved 48 female college students. The stimuli were made using the i-Designer computer program. The panels tested the screen images of all manikins wearing pants. A 7-point scale was used to evaluate each image. For the data analysis, the ANOVA and Duncan-test were applied along with an SPSS program. The results of this study are as follows. The visual evaluations by pants style and waist position are composed of seven factors (attractiveness, attention, hip, activity, height, waist, abdomen). Among these factors, attractiveness is evaluated to be the most important factor. The mutual agreement of the visual effect (according to pants style and waist position) was indicated as four factors of attractiveness, attention, waist, and abdomen. The height factor is evaluated to be the most important factor by change in regards to waist position. The 0cm waist position of three styles (classic, baggy, bell-bottom) were evaluated positively in elongated height whereas the -3cm, -5cm waist position of the skinny style was evaluated positively in elongated height. The mutual agreements of visual effect (according to pants style and waist position) were not indicated.

• 대한가정학회지
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• 제50권8호
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• pp.1-11
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• 2012

The purpose of this study is to compare and analyze the application of raditional elements in Lie Sang bong and Vivienne Tam's Fashion Design. The methods of research, the references to the precedents of prior research, fashion related journals, articles, and websites of designers were examined to analyze how each designer reinterpreted the respective homeland's traditions. The designs of Lie Sang bong and Vivienne Tam studied were from the 2002-03 F/W to the 2012 S/S collections. The results are as follow. First, both designers use traditional marks when reinterpreting the traditional clothes of Korea and China. In the case of Lie Sang bong, traditional Korean marks were linked to the western structure. For Vivienne Tam, designs which revived realistic marks identically were displayed. Second, in terms of the modern reinterpretation of the traditional clothes shapes, there were a number of cases in which the silhouettes of their respective country's traditional clothes were mainly brought into their arts. Lie Sang bong was influenced by the 'line' of traditional Korean design. In addition, the atmosphere of the traditional clothes helped to reanalyze the traditional clothes' figure. In Vivienne Tam's designs, unique Chinese images were produced by, keeping the original form of the Chinese dress. Third, in the use of the traditional ornament techniques, Lie Sang bong partially introduced and applied traditional ornament techniques while Vivienne Tam largely decorated the traditional. Chinese ornaments while directly utilizing the structuring designs.

• 마케팅과학연구
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• 제20권1호
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• pp.4-14
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• 2010

协同策略需要信息共享和其他各种对公司和股东都有利益的形式. 本文强调了在时装产业中运用到的特别形式的协同. 并且测试了对时装公司最成功的策略和消费者所感知到的协同的好处. 在本研究中, 我们定义了作为协作方的时装公司和品牌以及他们的合作方或股东. 我们定义协同为发生在至少两个公司, 品牌或个体之间, 在平等的基础上利用他们各自的竞争优势从而获得更大利益的合作关系. 协同策略需要信息共享和其他各种对公司和股东都有利益的形式. 本文强调了在时装产业中运用到的特别形式的协同. 通过合作, 时装公司一直都追求有形的差异例如设计和技术, 以及无形的差异例如对消费者情感和生理的好处. 结果就是, 时装产业中的合作已变成一个重要的创造价值的概念. 本文是一个定性研究, 使用案例研究和深度访谈来测试消费者对时装产业中协作的态度. 从1998年到2008年12月, 在韩国和国际市场中共有173个协同案例. 我们通过文件数据收集案例. 这些文件数据包括网站和产业数据和顶级门户搜索网站. 例如Rankey.com, Naver, Daum, 和Nate. 以及时装信息代表网站Samsungdesignnet 和Firstviewkorea. 我们搜集从2008年11月到2009年2月为止的个案. 个案用来分析有一个或多个合作方的时装产品生产(不包括纺织产品), 零售时装产品或设计服务. 其他在先前研究中的协同案例来自于新闻稿件, 期刊, 互联网门户网站和时装信息网站. 我们共选择了173个案例来进行分析. 清楚的显示了时装公司和股东的协作执行和策略所带来的产出和利益. 结果显示对所有参与协作的合作方(企业和顾客)来说, 最大的好处是通过共享资源降低了成本和风险. 例如设计能力, 形象, 成本, 技术和目标. 并且创造了协同作用. 考虑到协同产出的种类, 产品/设计是最重要的(55%), 紧跟其后的是推广促销(21%), 价格(20%)和地点(4%). 这个结果说明协同对给予产品和设计生命力有重要的作用. 尤其是在追求创造和新颖的时装产业里. 为了使协同可以成功, 本研究中深度访谈的结果确认了时装公司应该对为什么要进行这个协作有清晰的目标. 在设定目标之后, 时装公司应该选择符合产品形象和目标市场的合作方. 使得合作的产品有一定的概念和差异因素. 同时时装公司还要关注提升品牌知名度. 通过对消费者的深度访谈, 相互的利益可以分类为6个因素: 追求个人风格、追求品牌、追求稀有性、追求时尚、追求经济效率和社会性. 在访谈中顾客同时也强调了形象, 声誉和品牌信任. 然而, 在子范畴中, 本研究中的专家和顾客在成功因素认知方面有不同的结果. 因此, 从不同纬度研究目标客户和目标市场从而为成功的协作发展合适的策略.

• 자연과학논문집
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• 제17권1호
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• pp.79-87
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• 2006

지금 모피트렌드는 대중화와 디지털 트렌드에 힘입어 쇼킹하고 믹스드된 디자인과 실루엣이 컬렉션에 보이고 있다. 벌키하고 짧은 실루엣이 보이는데, 예전보다는 캐주얼에 믹스되기 때문에 그렇다. 배경에는 키덜트의 부상, 자연주의, 테크노캐주얼, 새로운 아방가르드로 표현되어진다. 이제 모피는 더 이상 클래식엘레강스(고현진, 2005) 아이템이 아니고, 보다 재미있고 차브(조주연, 2006)한 아이템으로 변해야 한다.

• 복식
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• 제57권5호
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• pp.45-57
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• 2007

This study is on the aesthetic characteristics of Balenciaga design succeeded to by Nicolas Ghesquiere, and tried to understand his pursuing brand's new design concept and aesthetics. The three key characteristics of Balenciaga designed by Nicolas Ghesquiere are Retrospecitvness, Eclecticism, Deconstruciton. First, Balenciaga looks retrospective sense through reinterpreting tradition. Nicolas created a new sense of expression by mixing his proper instinct with Balenciaga's original properties, historical components of the past western dress, and various design elements of assistants who used to work in Balenciaga. Second, Balenciaga expresses uncertain meaning by compromising between contrast and synthesis among the past and the future, the males and the females, simple and ornament, or different styles. Third, Nicolas's experimental and outsider-oriented view of Deconstruction through reorienting of thought is considered a try for a new formative concept as a designer who is not limited by general rules.

• 복식
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• 제20권
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• pp.179-190
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• 1993

In the history of fashion, few designers have interpreted the background of the time more accurately and energetically than did Elsa Schiaparelli. She understood the new role of women and believed clothes should suit one's life style. Schiaparelli begun with sportswear, later included suits and dresses. She produced them of great elegance and extreme chic. Simplicity of line was the key to her distinctive and elegant silhouette. Even her simplest designs had elegance. Her concept of clothes was architectual : the more the plane of the body were respected, the more the garment acquired vitality. Schiaparelli combined her knowledge, timing, and sense of daring in the presentation of her designs, colors, fabrics, and embroideries. For V, the garment was not only the medium for the couturier's craft but also the place for artistic expression. Her self-conscious equation of designer's objectives with that of artist is at the heart of her work. Schiaparelli's work is an expression of desire, not merely of design.

• 대한전기학회논문지
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• 제39권10호
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• pp.1086-1097
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• 1990

본 논문에서는다변수 제어기 설계방법중 주파수 영역에서의 INA기법을 제어기 설계에 응용하는 문제를 다루고 있다. INA기법은 제어기 설계과정에서 Gershgorin band와 Ostowski원을 이용해 대각 소자의 우세의 정도, 안정도등을 판단하므로서 간단히 제어기의 사양을 결정할 수 있으므로 복잡한 시스템의 제어기 설계시 대단히 편리한 방법이다. 본 연구에서는 입력변수 5, 출력변수 8, 상대변수 24인 비대칭인 입.출력 변수를 가진 원자력 발전소 시스템을 정방화 하여 제어기 이득을 구하고 이를 플랜트에 적용하여 시뮬레이션 한 결과 응답특성, 고유치에서 만족할 만한 결과를 얻었다.

• 한국의류학회지
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• 제30권1호
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• pp.167-175
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• 2006

The purpose of this study is to clarify the expansion of functions of clothes by analyzing the characteristics of transformation, and to forecast future trends in fashion through systematization of the aforementioned analyses. Analysis of 20th century Modernism and Post-Modernism in a sociocultural sense confirms that transformation in clothes was formed by environmental, functional, deconstructive, and expressive factors. In this sense, the formative factors mentioned above conceptually include nomadic characteristics, usefulness, irregularity, and expressiveness. The nomadic characteristics found in clothes transformation signify the change of clothes into environmental nomadic everyday implements, used as tools for the body. Usefulness of clothes means that it is worn for variability, multipurpose multi-functionality, and combined multiple use. Irregularity means the clothes can change indefinitely, according to random manipulation on the wearer's part. Last of all, expressiveness conveys the designer's internal sensitivity and imagination onto an external object through the induction of various expressive factors.

• 디자인학연구
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• 제4권1호
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• pp.7-30
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• 1991

From the past to the future, the great nature has been long standing good text and has never been behind the fashion. All problems of human being had been occured and been solved by 'Lives' and the biological chemistry ststem which are inside the nature. They say that "Ecology is the applications of biological shape in man made system design." We should find out the basic principles of nature and apply to the necessity of study. Biology, Ecology, and the other relational theory of design have abundant sources of idea in which designers can take new policy and creativities. When designers design new products they should consider socialogy and psychological circumstances that are related to them, and should find out various possibilities trying to contact biological systems and ecological systems which are chosen in the nature. The seed of ash samara can be applied to firehydrant for mountain on fire and application of the spider's web can lead to the device for road work. As soon as possible, we should find out the methods introducing the nautre which supplies infinite sources of idea to the basic theory of design.of design.

• 복식문화연구
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• 제7권1호
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• pp.52-67
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• 1999

A Study on the Drapery Presented in Costume The purpose of this study is to find esthetic characteristic of a drapery costume throughout Greece costume and modern fashion. For this purpose, documentary studies were proceed. And photos of the drapery costume were analyzed. Drape is the hang or fall of fabric when made into a garment is an important quality to consider indesigning. Fabric falling in folds in the garment as seen on statues of ancient Greece ; most outstanding modern versions made by designer Gres and Vionnet. Greek costume was in drapery types mostly and a feature created the vest esthetic effert on simplicity with ornament of drapery. Grecian were expressed pure beauty and natural beauty throughout their drapery costume. Madame Gres is widely considered one of the most talented greece for inspiration of the couture, ranked by many with Vionnet. They shows in their mastery of Greek draping -el-egance and simplicity- And also, they always implicity emphasized the relationship between clothing and the female body. Therefore drapery costume admired beauty of pure human body Clothing is expressed which wanted to get the nature and human, search for the losed nature of modern men. In conclusion, the characteristic of drapery costume from ancient greece to modern, timeless concerned human\`s lives and recurring humanity.