• 복식
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• 제63권4호
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• 복식
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• 제32권
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• pp.163-182
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• 1997

The purpose of this study was intended to analyze artistic formativeness represented in the modern fashion design materials. Nowadays the modern fashion design materials is characterized by variety. The fashion materials the most important of fashion is called a softwear in textile industry and emerged as a new field. Fashion design also escaped from the tra-ditional restraint and extended to pursue lib-eral clothes and the designer's creative inten-tion has resulted in conceptual and conven-tional alteration as a new mode of plastic ex-preseeion. As a results of analysis of the formative fea-ture of Art style represented in the modern fashion design materials. First Surrealism had been searching for a new way of confronting a social and rtistic environment that was stifling and repugnant to them. Accordingly the wide applicaytion of the various object due to the thought of Sur-realism through the modern fashion materials brought the diversification and individua-lization of the modern fashion design. Second Pop Art that is made modern mech-anic culture and commercialism brought the great transformation in the history of Art out of the existing style and the sense of ex-pression. And the plastic characteristics of Pop Art that has a gravity as modern fashion materials on a them of the elements of popular consumer's society. That is the common and cheap objects were introduced into fashion materials itself or pat-tern. Third Minimalism is a trend in art att-empting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means. The features of external form are simplicity clarity unrelated composition and symmetrical structure. Mini-malism was a quest for basic elements repre-senting the fundamental esthetic values of art. The minimal expression in modern fashion materials mean fabrics with simple surface and is contained using simple geometric pattern or utilizing textiles without any patterns. Fourth Eroticism is a kind of psychological revolution in the development of human civilization and is deeply rooted in the cultural tradition of myth religion customs and art. So Eroticism must be distinguished from a mere animal reproduction. These erotic char-acteristics were holded the meanings of sexu-ality through the modern fashion materials. Especially it was expressed the sexual part of body was nakedly showed through trans-parent materials or semitransparent like metalic and opaque materials. Recently the various kinds of new materials such as paper vinyle plastic metal as well as human body were applied to new fashion de-sign. First of all the new materials will give modern fashion designers stimuli and inspi-ration. It can also express values of moderners to despise materialism and uniformed modern society and to recover humanity and self-actualization.

• 복식
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• 제62권7호
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• pp.13-28
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• 2012

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

• 패션비즈니스
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• 제6권1호
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• pp.137-154
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• 2002

It's not easy to renew old brand of over 50 years history to the tastes of new consumer of our time. Most of national brands that has a history of some 20 years in Korea have strove for continuation and growth of brand to no avails, which can be taken as a good example of current situation. For instance, C company, one of the National brand of US which has a history of 51 years, has made its position secure as a fashion group and based itself on a sound foundation by establishing new marketing strategy and completing successful brand renewal in the process of strategic M&A with Italian company. Those successful marketing strategies are as follows. 1) they regarded both market and consumer oriented marketing activity as company's highest priority strategy and put great emphasis upon concentration on target market and reestablishment of brand image of business casual wear. 2) Setting up and operating planning team composed of merchandizer alone in Milano, they set the direction of plan on the basis of concentrated research on potential item in market according to thorough market research done by buying office in Korea, branch office in Hong Kong and buyer in US prior to blueprint planning for season. 3) Great emphasis was placed on business which focused on intensive presentation of basic key item for apparel career women who are main consumer group in the midium-low prices market in US and on supplementation of size and color. they named this line 'collectibles' and helped their customer develop their own clothes plan without worrying about the change of color and fabric by supporting same fabric and color throughout the year and enabled them to add variation easily by supplementing new trend item. 4) Company set black as a main color that lots of apparel career women find easy to care and to express their own image and presented them with pebble which belongs to navy and beige and added fashion color such as wine and brown etc as season goes by. They constructed basic line in order for their customers to coordinate purchased item with new one or to add them to present collection, and to achieve efficient sale by setting up strategy which allows this cross coordination and changing pattern occasionally. 5) Though basic jacket for 99$, short slim skirt for 49$ are products within midium-low prices range, in the material planning stage aiming at production of item that has both resonable function appealing to consumer and is fashionable, synthetic material had to be used as a main source due to price competitiveness. Despite this situation, considering comfortable sense of fit and refined drape of silhouette that has no sign of cheap material, whole collectible line was divided into two items, which contributed to reduction of cost. In case of material that is composed of triacetate and polyester in 70 to 30 ratio, was used up to 4 million yard, which allowed drastic curtailment of cost accompanied by concentration. In case of 'collectibles' line, using Korean material mainly, C company chose to have their product sewed in Southeast Asian countries where transportation is well developed and both productivity and quality verified by operating global production system which aiming at cutdown of cost through outsourcing production from the country where labor cost is low and getting finished product. Polarization between present consumers telling us that consumers with the mind of middle classes in the past no longer exists between consumers who seek after only fine article of highest quality and wise consumers who are sensible enough to judge bubble on correlation between price and quality. To cope with this change in new consumer mind, apparel makes changing their policy so as to produce item that has reasonable quality and falls within affordable price range anywhere in the world. and they're striving to get out of difficult situation by operating global marketing strategy which stresses separation of planning, production and sale and sensibility of fashion shared worldwide. The marketing strategy of C company can be exemplified as a successful one.

• 패션비즈니스
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• 제9권6호
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• pp.160-174
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• 2005

Despite the decrease in the number of children due to low birth rate, the domestic children's apparel market has been achieving steady growth as family income is rising thanks to more opportunities for working women, parents spend more on their children, and they prefer brand products that make their children look special. In addition, the market is suffering from hard competition as large enterprises have joined the race. The present study purposed to survey the children's apparel market in Korea, which is in a transitional period, and to contribute to the development of the market with Korean brands. For this purpose, we analyzed the characteristics of children's apparel brands in the 21st century based on the current state of the domestic children's apparel market and, based on the findings, forecasted the future trend of children's apparel brands, suggested improvements for expected problems, proposed standards for coping with changes such as diversification, high quality and differentiation in the children's apparel market, and provided consumers with information on how to purchase products. According to the result of analyzing the characteristics of children's apparel brands in the 21st century, brands are categorized largely into four types - life cultural brands, functional product brands, character brands and brands advancing to China. Life cultural brands equipped with all necessities for children are expanding, and with the deepening social problems of environmental pollution and the reduction of the child population, functional products made of environment-friendly materials are spreading widely, targeting infants and children. Furthermore, for extending age targets and diversifying products, children's apparel is using characters. The use of characters is expected to have a considerable effect on the growth of brands because children are more subjective as consumers than before and they are more easily persuaded with characters. Domestic children's apparel brands advancing to China have a high expectation of success in overcoming the limitation of the local market that has reached its peak and growing into global brands. Korean apparel makers are struggling to overcome the depressed domestic market, to recover consumers' consumption, to cope with market opening, to pursue high value of sensibility and to expand the seniors' market, etc. In this situation, future trends of children's apparel brands will be the expansion of family brands, brand totalization, quality price, niche market (pre-teen market), etc. In response to these trends, we made the following suggestions for improvement. 1. Children's apparel brands are evolving into family brands as well as into total brands through voluming. Today, however, apparel makers are advancing to the children's apparel market with the concept of adults' apparel and, as a result, children's apparel is merely adults' apparel of reduced size, having problems in design, color and materials. Thus, apparel makers must develop design considering the wide range of size and the characteristics of children's apparel, strengthen sourcing abilities to create revenues, and make thorough survey of customers to find common denominators between adults' apparel and children's apparel considering that characteristic that the target class is different from the buyer class. Furthermore, they must make active investments in human resources, develop outstanding products through advanced planning and design, and support marketing techniques and management systems to stores. 2. As the declining birth rate will continue to have a negative effect on the market, it may be difficult to expand the market size but there is still a margin for growth through high-sensibility and high-quality products. The competitiveness of brands is determined by their market shares. Accordingly, concepts should be specialized according to lifestyle, customers' diverse needs should be satisfied, and cross-coordination should be achieved within a brand. 3. Considering Korean parents who do not spare investment in their children despite shrinking consumption, functional products must be high value-added goods that can enhance efficiency. However, in the current situation of the infants' apparel industry where a textile manufacturer supply its products to multiple brands, it is difficult to develop unique products only based on materials. Thus, it is considered urgent to appeal to consumers not by relying on materials only but by finding methods of applying their own characters to children's dress.

• 인삼문화
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• 제3권
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• pp.90-118
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• 2021

개성은 18세기 들어 성행한 인삼 재배와 교역으로 막대한 자본이 축적되면서 근대적 자본주의가 발달할 조건을 갖추었다. 일제 강점기 시절 인삼 상인들은 인삼에서 나온 자본을 단순히 지주자본에 묶어두지 않고 산업자본, 금융자본으로의 전환을 적극적으로 추진해 근대 기업가로 활동한다. 20세기 초반 설립된 개성전기주식회사, 대한천일은행, 개성양조주식회사, 송고실업장 등은 인삼상인들이 주축이 되어 공동 투자하고 공동경영을 맡았다. 이들은 기업이윤만을 추구하지 않고 사회 지도층으로서 개성상업학교 건립, 고려시보 창간, 개성좌 운영 등 개성의 교육, 문화발전을 위해 후원자로 나서 지역발전을 견인한다. 자유주의 경제학에서는 주주이익 우선이 기업의 목적이었지만 21세기 들어와서는 이해관계자(stakeholder)에 대한 사회책임을 강조한다. 또 재무적 성과를 중시하는 던 경향에서 비재무적 요소가 더 중시되는 ESG( Environment, Social, Governance) 경영이 중요해지고 있다. ESG 경영은 환경을 생각하고 사회가치를 창출 공유하며 기업의 투명성을 중시한다. 과거에는 돈을 잘 버는 기업이 좋은 기업이었으나 현대에 와서는 사회책임을 다하는 기업이 좋은 기업으로 평가받는다. 20세기 초반 인삼상인들의 기업활동에서는 현대 경영의 필수요소인 기업가 정신과 ESG 경영이 실현되고 있었다. 이들이 시대를 앞서 현대적 경영이념을 실천할 수 있었던 것은 개성의 지역성에서 비롯된다. 개성인들은 조선왕조의 정치적 차별로 관직 진출의 길이 막혀 사농공상(士農工商)의 엄격한 신분제하에서 양반, 지식인이 상업의 길로 들어설 수밖에 없었다. 우수한 인력이 대거 상업으로 진출하면서 개성의 상업은 더욱 활발했고 상인의 가치관도 선진적이었다. 대표적인 인삼상인 손봉상, 공성학은 상인이면서 유학자, 문인이었다. 인삼상인 2-3 세대들은 해외에서 고등교육을 받고 개성으로 돌아와 삼업을 잇고 인삼에서 나온 자본을 기반으로 근대적 기업을 설립했다. 20세기 초반 인삼상인들의 상업활동을 분석하면 ESG 경영이념이 배여 있는 선구적 기업가였음을 확인할 수 있다. 사람의 생명을 살리는 인삼처럼 개성 인삼상인의 상업활동과 근대 기업화에서는 사람의 얼굴을 한 자본주의의 한 단면을 볼 수 있다.

• 마케팅과학연구
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• 제20권3호
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• pp.239-248
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• 2010

本文阐述了产业和学术之间的合作项目. 这个合作项目关注美国东北部的一家大型地区连锁百货商店的两个自有品牌服装的营销和产品开发战略发展. 这个项目的目标是通过和学生的想法的合作来振兴产品线. 从而给学生提供真实产业环境中的实践经验. 这个项目中有很多关键者. 在美国东北部的一家私有连锁百货商店为已有的两个自有服装品牌寻求一个学术伙伴. 他们的目标客户是追求休闲, 适中价格的中年消费者. 这个公司想要改变包装和展示的方向, 甚至是产品的设计. 公司的品牌和产品开发部门联系东北一个州立大学的学术部门的教授. 有两位教授认为这个项目非常适合他们的课程-一个是初级的媒介品牌管理课程; 一个是高级的时装产品开发课程. 这些教授认为通过合作项目, 学生在安全的学术学习环境中能进入一个真实的工作场景中在一个多学科协作团队, 提供超出一个学生的能力, 经验和资源优势, 并增加了解决问题的过程中的 "智囊" (Lowman 2000). 这种提高学生的能力目标的方向让每班教师去组织品牌和产品开发类的跨学科团队. 此外, 许多大学都聘请科研和教学的产业伙伴关系, 协作的时间(学期)和环境(教室/实验室)的约束有助于提高学生的知识和对现实世界的经验. 在田纳西大学, 产业服务中心和UT-Knoxville's 工学院和一家公司合作来发展它们美国公司的的设计进步. 本研究中, 因为是和一个自有商标零售品牌, Wickett, Gaskill 和Damhorst's (1999) 指出产品开发和品牌管理团队使用的零售服装产品开发模型. 之所以选择这个框架是因为它从零售这个角度强调了服饰产品开发. 两个班级参与了这个项目: 一个初级品牌管理班级和一个高级时装产品开发班级. 7个团队包括四名学习品牌管理的学生和两名学习产品开发的学生. 这两个课程在同一个学期但是不同的时间. 在学期开始的时候, 每个班级都被介绍给了产业合作伙伴并接受了问题. 一半的团队指定为男士品牌, 另一半是女士品牌. 这些小组负责制定解决问题的方法, 制定自己的工作时间表, 在与业界代表保持接触, 并确保每个小组成员以积极的方式负责任. 这些小组的目标是通过用销售规划进程来计划, 发展和展示一条产品线(遵循Wickett, Gaskill和Damhorst 模型) 并为这条产品线发展新的品牌战略. 这些小组展示了趋势, 色彩, 面料和目标市场调查; 制定一个产品线的草图;编辑了草图, 介绍他们的执行计划书写说明书, 配上合适的模型并最终开发生产样品. 品牌班的学生完成了SWOT分析, 品牌测量研究报告, 品牌心智图和完整综合的营销报告. 这些报告在介绍新产品线时同时发表. 将来如果有更多这样的协作机会而且公司希望同时考虑品牌和产品开发战略, 那么课程应该定在相同的时间, 这样学生有更多的时间在一起讨论时间表和被分配的任务. 像上面的任务, 学生不得不每堂课之外的时间见面. 这使得团队工作变得具有挑战性(Pfaff和Huddleston, 2003). 虽然这项工作的后勤是费时设立和管理, 但教授认为对学生的好处是多种多样的. 根据两堂课的学生的回复, 最重要的好处是和产业专业人士一起工作的机会, 跟进他们的进程, 并看到公司里做决定级别的高层对他们作品的评估. 教员们都感激有一个 "真实的世界" 的案例. 制定的创意和战略扩大和加强了品牌和产品开发两个部门的联系. 通过和来自不同知识领域的学生一起工作并且和产业伙伴联系, 遵守产业活动的框架和时间表, 学生小组在新的环境中完成优秀创新的作品是具有挑战性的. 在产品开发和为 "现实生活" 品牌的品牌工作, 这些品牌都在努力给学生一个机会, 看看他们的课程是如何紧密的与现实世界联系, 以及公司运营中设计和商业方面如何需要创造性, 协作和灵活性. 行业人员对(a)学生的知识水平和深度以及执行力, (b)品牌的新思路的创造性产生了深刻的印象.

• 자연과학논문집
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• 제7권
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• pp.133-162
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• 1995

전례복의 전통을 고수하며 최상의 예술적 가치를 지닌 제의를 생산하는 Paderborn의 Wameling과 Cassau, 그리고 성모마리아 성지 순례지인 Kevelaer에 위치한 Kevelaerer Fahnen + Paramenten GmbH는 "Hidden Company"로 전유럽과 아프리카, 미국과 스칸디나비아 반도에 까지 널리 알려진 독일의 전례복기업으로 수 세기동안 종교적인 중심이 서 있던곳, 교회의 예식의 삶이 발전되어온 곳, 바로 그곳에서 계속해서 오늘날까지 예술의 수호자와 격려자로서의 모습을 굳건이 지켜나가고 있다. 이러한 3개 회사를 통하여 알아본 카톨릭 전례복은 다양한 모양과 색채, 형태와 기법을 사용하여 단순한 종교적 상징성을 넘어 미적인 화려함과 조형적인 조화로 현대직물예술, 미술의상, 그리고 디자인 전반에 활용이 기대되며, 신자들에게는 전례복에 대한 상징의 미와 조화에 대한 이해를 돕고, 비신자들로 하여금은 종교예술에 대한 의식과 관심이 정식적인 사고나 신앙심을 유발시키는데 중요한 영향을 끼치리라 본다. 전례복은 성직자가 미사. 성사. 집행. 행렬. 강복등의 모든 의식때 교회규정에 따라 입는 예복들을 총칭하는 말이다. 이러한 전례복은 무언의 언어로써 신성의 표현을 겉으로 드러낸것으로 세속인과 성직자를 구별해준다. 또 예식을 집행하는 사제의 몸짓과 동작, 언어를 뒷받침하여 전례의 뜻을 더욱 시각적으로 강하게 나타내 주고, 성직자로 하여금 성직의 직무에 더욱 충실할수 있도록 심리적영향도 준다. 이뿐만 아니라 전례복은 성직자의 지위와 권위를 나타내며 신자들로 하여금 성직자에 대한 위엄과 존경심을 불러 일으키고 전례복의 상징과 색체를 통해 전례의식의 기쁨과 슬픔을 심리적으로 공감하여 예식의 아름답고 신비스런 분위기를 창출하게 하므로 더 한층 신앙의 깊이를 부과시켜 준다. 전례복은 그리이스, 로마의 초상기 세속복이 종교적 경향을 띄면서 기독교 복식으로 자리 잡은 것으로, 313년 로마 Constantinus 황제에 의해 기독교가 공인되기 전까지는 세속인과 구별되는 특별한 제복은 없었다. 인간의 심리를 가장 잘 표현한 제의의 색채도 원래는 순수 흰색이었던 것이 12C 교황 Innocentius 3세에 의해 전례축일과 각 시기에 따라 특수한 색채를 사용하도록 규정되었으며, 현재의 전례복 색채의 상징적 의미는 교황 St. Pius (재위1566-1572)에 의해서 지니게 되었다. 장식과 소재도 초창기에는 대부분 모, 아마등이 사용되다가 4C부터 비단과 같은 특별한 소재가 사용되기 시작하였고 12C에는 금실로 직조된 화려한 소재가 사용되었다. 장식으로는 상징 문양의 자수, 직조, 아프리케의 견고하고 아름다운 장식이 널리 사용된다. 또 형태는 전통적으로 가장 널리 사용되어온 반원형의 풍성한 제의가 죄를 덮어주는 자비의 상징으로 오늘날 다시 유행하고 있다. 미래의 제의 형태도 결정적인 큰 변화는 없을 것으로 예측된다. 전례복의 발전은 계속해서 보수적인 교회의 명령에 의해 움직여질것이며 오늘날까지 변화해온 그 방식 그대로 각 시대의 문화와 시대정신, 복식의 유행에 따라 조금씩 변화의 과정을 거쳐 시대감각에 적합하도록 단순하고, 간편하게 변해갈 것이다. 사제의 수가 줄고 전례용품의 수요가 급격히 줄어들지도 모르는 판매 부진의 시기가 곧 닥쳐오게 될지도 모르는 상황속에서도 전례복기업들은 각기업의 전례복 차별화와 예술적 진보를 위해 끊임없이 다양한 문양, 자수기술 개발, 창조적인 형태의 디자인 실현을 통하여 세계속에서 초 일류기업으로 당당하게 경쟁할 능력을 준비하고 있다. 또 각기업은 예술가의 적극적인 관심과 참여의식을 유도하고, 전시회와 전속예술가를 위한 Atelier를 마련하며, 다른 회사의 전례복과 구별되는 직물의 생산을 위해 자가 직물공장을 세우거나, 한 회사만을 위하여 직물을 생산토록 독점계약을 맺는등 소재의 독창화와 예술적 가치에 심혈을 쏟고 있다. 또한 외국신문에 기업광고를 내고, 영업사원을 활성화하며, 고객의 철저한 사후 A.S를 실시하여 기업의 발전에 노력하고 있다. 또 각 교회에서는 전례복 자수협회를 창단하여 취미 자수가나 재봉인의 교류에도 힘쓰며 전례복 생산과 자수공예를 배우려는 사람들에게 지원과 격려를 아끼지 않는다. 이와 같은 기업, 예술가, 교회의 노력은 3회사의 미래가 밝을 것임을 충분히 알려준다. 우리나라에서도 기업의 다양한 기술개발과 연구, 예술가의 종교미술의 참여, 교회의 관심을 통하여 세계적으로 유명한 전례복 생산지가 되기를 기대해 본다.