• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.46-47
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• 2003

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.61-76
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• 2016

The importance of environment has come into focus recently, and this has led to increased attention on zero waste fashion design as a method to minimize waste from the production stage of fashion goods. The purpose of this study was to analyze the development method types and the characteristics of zero waste fashion design in order to study the eco-friendly meanings of zero waste fashion design, as well as its meaning as creative design development methods. Through the case analysis of recent designs, the design types of zero waste fashion design were largely classified into cut and sew, folding, draping, and non-woven types, and they were classified again according to the characteristics of production process. According to the result of analyzing fashion design development methods of zero waste fashion designs based on the process of completing design, they were classified into pattern making, computer programming, draping, assembling of the unit, and non-woven moulding methods, and the aspect of combined use rather than utilization of one method appeared. Formative characteristics of zero waste fashion design included decorative beauty, formative beauty, and transformable beauty and its design characteristics were fortuity and unexpected properties, breaking stereotypes, structural flexibility and futuristic innovation.

• Korean Journal of Health Education and Promotion
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• v.21 no.2
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• pp.117-131
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• 2004

In order to obtain basic data for a health promotion program of hair dressers, the health promoting behavior of some hair dressers was assessed with the related factors such as general characteristics and cognitive-perceptual factors. The subjects were 245 hair dressers working at beauty shops having at least two hair dressers. The data was collected by a questionnaire from October 14 to October 20, 2001. The results were as follows： 1. The mean score of health promoting behavior conducted by the hair dressers was 31.17 out of 50.00 in total score. 2. The score of the health promoting behavior was statistically different according to marriage, on-duty hours, holidays, satisfaction in the job, perceived health status, perceived fatigue, health concept, and self-efficacy (p＜.05), while it was not statistically different according to gender, religious faith, residence, eduation, economic levels, career in the job, average income, medical care insurance, employment insurance, control of fortuity, and control over other persons. 3. The health promoting behaviors in the hair dressers showed positive correlation with self-efficacy and internal control, while it showed negative correlation with control over other people, control of fortuity, health concept, and perceived fatigue. 4. The Regression analysis results of the questionnaire showed that perceived fatigue, health concept and office hours were significant factors but the age, the fact of being single or couple, position at the job, holidays, satisfaction of the job, self-control and stresses from other people and self-efficiency appeared insignificant. In conclusion, the hair dressers with less perceived fatigue and better cognitive health concept and short duty hours showed better health promoting behavior. So, In order to conduct health promoting behaviors of hair dressers, the method will need to control of working time and perceived fatigue.

• Archives of design research
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• v.17 no.2
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• pp.67-76
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• 2004

The main stream of consumption about the products is tend to transfer from low price value with mass production, to the second value of products, such as pleasure, familiarity, humor, and metaphor. This second value is closely connected to a redundancy which are also related to modern science as well as product design. These terms such as matrials, identity, and gravitation, disappeared gradually, and these are substituted with an uncertainty principle, a fortuity, a contradictory concept, entropy etc. In sum this study focuses on the tendency of intelligency issue the recent design trends. This result shows that The 4th Column Thinking and Formation System which is related to an expansion and diversity of design intellectual ideas.

• Journal of Fashion Business
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• v.14 no.6
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• pp.118-133
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• 2010

This study aimed to seek character and design of fashion cultural product using an optical fiber, and inquire element to be able to apply when an optic-fiber design differentiation develop into craft art and design. At present, optical fibers are commercialized with the brands of Luminex, Lumitex, Lumigram, etc., and the products are developed diversely in cloths, fashion articles, and interior products. When electronic technology becomes confused not visually in the technology of textile, the characteristics of fashion designs applied with optical fiber can be approximately classified for amusement, sensitivity direction, interaction, and protective performances. Sensitive design is taken a serious view as a new expression method to be interesting and attractive as well as a kind of amusement method to make people feel fortuity they do not experience in normal fashion. Also, it pursues function of body protection as a medium of communication to convey message to wearer and observer on the basis of reciprocal action between clothes and wearer. Fashion cultural product using an optical fiber is a kind of amusement to be interesting and attractive as well as it pursues function of body protection as a medium of communication to convey message and sensitive design which is attractive.

• The Journal of Art Theory & Practice
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• no.1
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• pp.7-22
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• 2003

What is 'Art Theory'? In the western sense, the term poses a vague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is derived from theoria and theoria from theoros. It refers to an act of viewing or seeing, of course not in a metaphysical sense. Plato understood it as 'eide'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we tend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned to studio practice, set apart from theory. Therefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique:, rather than bringing out their own interpretations and discussing theories. As a result, students have become artists, who are not able to understand their own art. Art professors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poiesis and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowledged as 'completion' (finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aesthetics thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. Through the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart out creating a work of art. Theory is a study on artistic discovery thus should be equipped with functions that can accommodate fortuity, imitation, thinking, culture, and surrounding.