• 복식
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• 제32권
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• pp.45-56
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• 1997

The purpose of this study was to investigate the relationship between Chanel design and her Costume jewelry in 1920's-1930's through documentary studies. According to the study the result was as follows: 1. Chanel's esthetic in the field of Fashion Design bore the double stamp of "elegance" and 'simplicity' 2. Chanel changed the concept of costume jewelry. Chanel's great innovation was that she let 'fake' jewels always keep the intrinsic value of 'real' ones. 3. The simplicity of her perfectly tailored suit was Paradoxically overwhelmed by a fan-tastic array of jewels. The relationhship be-tween Chanel design and her costume jewelry was not able to be seperated. Chanel was a fashion leader fifty years ago and the name "Chanel" will be at the forefornt of fashon fifty years from now. The image of quality will always remain the same in the futures.

• 대한전자공학회:학술대회논문집
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• 대한전자공학회 2002년도 ITC-CSCC -3
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• pp.1547-1550
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• 2002

Reconfigurable computing is a new computing paradigm which has more potential in terms of performance and flexibility. Reconfigurable computing systems are opening a new era in digital signal processing such as multimedia, communication and consumer electronics because they can filter data rapidly and excel at pattern recognition, image process- ing and encryption. Although many reconfigurable computing systems use a conventional programmable device, they carry several serious problems to be solved. This paper proposes a logic block architecture of programmable device suit-able for the reconfigurable computing. Compared to conventional logic blocks, our logic block can improve implementation density, efficiency and speed.

• 한국의류학회지
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• 제27권3_4호
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• pp.298-309
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• 2003

This paper was done to identify the types and the characteristics of street fashion of men living in world fashion-leading cities. 608 male photos taken on the main streets of 4 world fashion-leading cities such as London, New York, Paris, Tokyo were used as data. Photos were viewed by students and classified according to overall images and the common aspects of characteristic style. Fashion images of male were classified into 11 groups, which were suits, casual, hip-hop, rockers/punks, hippies, ethnic, western, military, new romantic, skirt, androgynous. Frequency distribution showed that casual image was mostly preferred and 1311owe4 by suit, rocker/punks. Military and hippies were least favored. In each category, almost every style looked unique and creative as a result of mixing and cross-coordination of different clothing items.

• KIEAE Journal
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• 제7권6호
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• pp.127-132
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• 2007

Recently, the cases of lawsuit are growing on residential defects. Though, mostly residential construction companies are trying to mitigate resident's dissatisfaction due to keep the company's brand image by operating customer service team, some representatives of apartment buildings initiate litigations without any negotiation with countrepartner companys incited by planned suit lawyers. But lawsuit takes longtime to sentence(about more than one year), and judged amount of money are very few (averaging about 14%) compared with asserted amount of it. To suggest the improving alternatives, the types and problems of defect lawsuit on apartment complex are analyzed.

• 대한원격탐사학회:학술대회논문집
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• 대한원격탐사학회 2003년도 Proceedings of ACRS 2003 ISRS
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• pp.44-46
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• 2003

In 1996, Thailand's participation in the Pacific Rim as a part of NASA's Mission to Planet Earth (MTPE) Program, was titled 'AIRSAR Thailand Project'. In this project the Department of Land Development utilized Topographic SAR (TOPSAR) which had multi-frequencies: C band, L band, and P band with multi-polarization: HH, VV, and HV as well as C band VV DEM. Satellite data such as LANDSAT TM was also utilized for optimal use. Results of AIRSAR image processing including data fusion among difference wavelength bands and polarization revealed the quality of AIRSAR that best suit for detection of agricultural land uses. The HH-L band AIRSAR was proven to be useful to distinguish among crop types when combined with appropriate data. The HH, VV, and HV-P band enhanced surface characteristics of swamp forest and wetland. In addition, TOPSAR has its great advantage for identification of salt farms and shrimp ponds.

• 한국의상디자인학회지
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• 제4권1호
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• pp.61-72
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• 2002

This paper is the second part of a series of the research about the Teddy boy style which is to examine various fashion changes in subcultural styles in 1900s. The main concern of this research is to investigate the creation and meaning of the Teddy boy style, how it interacted with the elements of class and generation and how the materials needed by the group constructed and appropriated into the visible systematic cultural form of correspondence. The Teddy Boys are the first recognized members of the British youth culture, which is known as the new Edwardian because of their dress. They had created the concept of the "teenagers," which forms the basis of the sense of a "generation" in the 20th century. The Teds set the style that would be used and modified in the following generations. They adopted the Edwardian style of the upper class, and changed it into their own style by modifying it and adding to it some other elements. The Teddy boys style is a special version of the sartorial appropriation encountered in the sphere of the fashion history. It actually began immediately after the war by the upper class youth far from the working class neighborhood. In the late 1953, the elitist aura surrounding the Edwardian suit was suddenly shattered. Within just a few months, the Edwardian suit became a source of social anxiety and the focus of a symbolic battle. Although the Edwardian look had initially went back to the upper class root, it became a symbol of rootlessness. In appropriation of this image, The Teddy boys were also rejecting the sartorial conformism of the English working class with its modest tradition. In this respect, the Teds effected the ascent or fall of the working class in the area of fashion. The Teds dress was not a merely borrowed fashion, but was a bastard fashion in the form of American trends, the Zoot suit. At this time members of the working class possessed only work dress for the week and waist suits for the Sunday outings. Teds broke this pattern, and developed the working class dandyism of wearing clothes simply to show off. The results were that they succeeded in opening the teen market, and popularizing a working class style for the first time in British history. The Teds became the first British street style with ties music, and remain as an symbol of the rising of a new age of values and styles.f values and styles.

• 한국콘텐츠학회논문지
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• 제8권8호
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• pp.196-205
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• 2008

본 연구는 재즈댄스 참가와 신체상 및 정신건강과의 관계를 규명하여 재즈댄스의 활성화에 기여하는데 목적을 두었다. 연구의 대상은 서울, 경기지역에 거주하는 만 18세 이상을 모집단으로 유의표집법(Purposive Sampling Method)을 이용하여 대학 교양수업, 문화센터, 스포츠 센타, 생활무용현장 등에서 총 183명을 분석대상으로 표집 하였다. 조사도구는 Jourard와 Secord(1954)가 개발한 신체적 만족척도(Body Cathexis Scale)를 수정 보완하여 6개요인 총39문항으로 재구성한 신체상과 Derogatis, Rickles와 Rock(1976)이 개발한 90개 문항의 정신 건강증상 체크리스트(SCL-90)를 한국 실정에 맞게 번역하여 제작한 김광일 등(1978)의 46개 질문지를 줄여 31개 문항 4개 요인으로 수정 재구성하여 사용하였다. 조사 분석은 요인분석, 신뢰도분석, 회귀분석, 경로분석을 통하여 다음과 같은 결론을 얻었다. 1. 재즈댄스 참가정도는 신체상에 영향을 미친다. 즉 재즈댄스 참가빈도가 높을 수 록 건강과 하체 신체상이 높다. 2. 재즈댄스 참가정도는 정신건강에 영향을 미친다. 즉, 참가기간이 길수록 대인예민증에, 참가빈도가 많을수록 신체화가 높다. 3. 재즈댄스 참가정도와 신체상 및 정신 건강과의 인과관계는 참가빈도는 건강과 하체, 신체화에, 그리고 신체상의 하체는 대인예민증, 적대감, 불안 우울에 직접적인 영향을 미친다. 따라서 신체상의 하체요인은 재즈댄스 참가빈도와 정신건강과의 관계에서 매개변수로 중요한 작용을 하는 것으로 나타났다.

• 복식문화연구
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• 제5권4호
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• 한국의류학회지
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• 제35권9호
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• pp.1085-1098
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• 2011

In the $21^{st}$ century, technology is a tool for the expansion of the five senses and physical ability that works as an element for posthuman identity. This study analyzes and theorizes on the characteristics of the posthuman body in fashion illustration. The method of this study analyzes documentaries about posthuman and fashion illustration. The results are as follow. Posthuman body types are classed as hybrid body, plastic surgery body, and digital body. The characteristics of the posthuman body are categorized as ultra- functional prosthetic, mythical undifferentiated, radical plastic surgery type and post-physical digitization type. The ultra-functional prosthetic type shows a restored body and upgraded functional body through a machine hybrid, cyborg suit and mannequin hybrid. It is a break from classical gender identity to form a nerve sense extension that displays physical and abstract power. The mythical undifferentiated type shows a therianthropic form, parts of an animal body, radical skin and gender bending. It represents the return to an undifferentiated world, the desire of a powerful being and the possibility of radical transformation. The radical plastic surgery type shows a photomontage of an ideal body, transgendered body, grotesque body marking, absence of partial or overall face organ and the expansion of abnormal body organs. It represents the expression of narcissism, unconscious desire, fantasy, fear and suggests an alternative ideality, sexual attachment and ambiguous gender identity. The post-physical digitization type shows an imperfect form or duplicated ego image through the omission of the body silhouette or detailed form, fragmented image using net, representative self like optical illusion using typography, an imperfect vague silhouette and immaterial body outline through the use of virtual light. It represents the lack of desire, narcissism, fluidity in a virtual space, the continued creation of a new self, ambiguous gender identity and the liberation of environment, sex, and race. Likewise, the posthuman in fashion illustration shows the absence of a species boundary, destruction of classical gender identity, a new personality and virtual self image.

• 한국의상디자인학회지
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• 제1권1호
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• pp.91-107
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• 1999

The primary purpose of this study is to inquire into the characteristic of exposure presented in fashion, identify the correct concept of exposure from an aesthetic perspective, and grasp the contemporary meaning of exposure presented in fashion. As a result of study, the following findings were obtained: First, the surrealist style of fashion exhibited representations such as the relocation of the partial details, the harmonization of the natural and the artificial, the emphasis or expansion of each part of the body, and the like. It used highlighted the genital region with ornamentations or used the technique of paradoxically exposing the part of the body always covered. And it exbibited the paradoxical relationship of exposure and concealment by exposing the concealed part of the human body. Second, the post-modern style showed the complicated phenomenon that the values of several meanings such as the historic, the folk, and the like appeared in its fashion. It shares in spatiotemporal eclecticism, pluralistic characteristics and the like found in the post-modern culture. Third, the deconstructive style gets rid of the distinction between the external space and the private space by translating underwears into outer garments. It destroys clothing by tearing or perforating clothing whereby it represents the poor image. Coupled with women‘s psychology of exposure and the new generation’s way of thinking indifferent to others‘ eyes, this fashion of deconstruction occupies the great current of fashion. Deconstructive fashion gets away with the rule of ‘having to wear clothing to suit TPO(Time, Place and Occasion), the traditional norm of wearing clothing.