• 한국의류학회지
• /
• 제30권7호
• /
• pp.1090-1102
• /
• 2006

The purpose of this study is to develop an improved work clothing which is much safe, comfortable, mobility and convenient than what workers currently wear at construction site. The investigation has been conducted to evaluate current work clothing to grasp any problems, discomforts and damages related to the work clothing. For the best and accurate data, hands-on investigation and a short-interview have been performed at the construction site as well as formulating a questionnaire. The questionnaires was answered by 425 workers and safety manager of 13 different construction site. The result of the questionnaire enables us to design a sample work clothing, many pa π s such as material, pattern and design have been improved. To improve the amenity of heat, the surface of a material was used by $Aerocool^{\circledR}$ fiber which contains inside dryness function. In order to absorb perspiration on the back the armpits, mesh martial that is mixture of $Coolever^{TM}$ fiber and $Mirawave^{TM}$ fiber was used to absorb perspiration in an effective manner. And a sleeve's bottom part and trousers' bottom part's cover method have been changed. Sample work clothing was shorten at the side of upper garment up to 2cm and lengthen the length of the back by 3cm. To reduce the tightness around armpit more room was given in that area. Darts were added to the elbow, the hip, and the knees that also followed an ergonomic pattern. A sample work clothing evaluated an objective assessment and subjective assessment to compare to a current work clothing. Assessment group consists of seven subject groups and nine expert groups to evaluate external appearance and adaptability to the movements. In all aspects of the test, the result of evaluation process of the sample work clothing received more positive assessment than the current work clothing.

• 제어로봇시스템학회:학술대회논문집
• /
• 제어로봇시스템학회 2005년도 ICCAS
• /
• pp.1202-1205
• /
• 2005

This paper describes a method for vision-based person identification that can detect, track, and recognize person from video using multiple cues: height and dressing colors. The method does not require constrained target's pose or fully frontal face image to identify the person. First, the system, which is connected to a pan-tilt-zoom camera, detects target using motion detection and human cardboard model. The system keeps tracking the moving target while it is trying to identify whether it is a human and identify who it is among the registered persons in the database. To segment the moving target from the background scene, we employ a version of background subtraction technique and some spatial filtering. Once the target is segmented, we then align the target with the generic human cardboard model to verify whether the detected target is a human. If the target is identified as a human, the card board model is also used to segment the body parts to obtain some salient features such as head, torso, and legs. The whole body silhouette is also analyzed to obtain the target's shape information such as height and slimness. We then use these multiple cues (at present, we uses shirt color, trousers color, and body height) to recognize the target using a supervised self-organization process. We preliminary tested the system on a set of 5 subjects with multiple clothes. The recognition rate is 100% if the person is wearing the clothes that were learned before. In case a person wears new dresses the system fail to identify. This means height is not enough to classify persons. We plan to extend the work by adding more cues such as skin color, and face recognition by utilizing the zoom capability of the camera to obtain high resolution view of face; then, evaluate the system with more subjects.

• 복식문화연구
• /
• 제13권3호
• /
• pp.406-413
• /
• 2005

This study performed the evaluation of skin temperature, heart rate, temperature and relative humidity of microclimate, and subjective sensation, such as thermal sensation, wet sensation and comfort sensation to estimate physiological responses of the human body and its comfortable feeling to the vitamin E fabric. Experiments were performed on the five healthy adult women whose average age was 21, at climate chamber in which temperature, relative humidity and air current were set up below $30{\pm}\;1^{\circ}C$, $50{\pm}\;15\%$ and 0.2m/s, respectively. Two kinds of clothes were used for experiments: unfinished sports clothes, with the same form and the same size, of short-sleeved knit shirt and long trousers made with $100\%$ cotton, and finished sports clothes printed with the vitamin E solution of the level of $0.88\%$. Exercises of walking (about 105 steps/minute) with the exercise intensity of 2.5 were performed for 20 minutes using treadmill. In result, the study showed significant difference (p<0.01) in average skin temperature between unfinished and finished sport clothes, and represented higher value with having unfinished sport clothes in wear than with finished one. The study also showed significant difference (p<0.01) in heart rate only during the period of exercise, and represented higher value generally with unfinished sport clothes than with finished one. There were significant differences not only in temperature of microclimate (p<0.01) but also in humidity of microclimate (p<0.05) between two sport clothes. As for the evaluation of subjective sensation, the study showed significant difference (p<0.05) in thermal sensation between the two kinds of sport clothes, significant difference in wet sensation only during the period of exercise, and significant difference (p<0.05) in comfort sensation only during the period of recovery.

• 복식문화연구
• /
• 제21권1호
• /
• pp.31-41
• /
• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• 대한간호학회지
• /
• 제23권4호
• /
• pp.602-616
• /
• 1993

The purpose of this study was to explore the degree of stress in caregivers caring for patients who had had a cerebro vascular accident as the stress is related to the self- care ability of the patient. The subjects for the study were caregivers of 111 CVA patients, hospitalized at two University affiliated hospitals and two general hospitals in Daejon. The survey instruments used in the study were Kang’s ADL Check List and a modified form of Lee’s Stress Inventory. The survey was conducted from July 16th to August 30th, 1992. The survey results were analyzed using the Statisitical Package for Social Sciences (SPSS) and can be sumerized as follows: 1. The level of self- care for the CVA patients was : 1) complete dependence (M=34.7, 31.2%), 2) complete independence (M=14.8. 13.3%), 3) in-complete independence ( M=17.5, 15.8% ), 4) in-complete dependence (M=14.8, 13.3%) and 5) dependence and independence (M=14.1, 12.7%). The items for which there was a high level of self-care were 1) drinking (M=3.640), 2) returning (M=2.351) and 3) eating (M=2.351) : and the items for which there was a low level of self -care were : 1) ascending and descending stairs (M=2.351), 2) dressing and undressing trousers (M=2.514) and 3) dressing and undressing jacket (M :2.532). 2. There was a statistically difference between the paralytic status and the level of self- care accord-ing to their demographic characteristics ( F=24. 7056, p(.001). 3. There was no significant difference in the degree of caregiver stress according to patient's demo-graphic characteristics. 4. There was a statistically significant difference in the degree of caregiver stress according to the following demographic characteristics : age (F=7.4189, p(.001), education level (F=5.8336, P(.01), family structure (t=2.10, p(.05) and their relationship with the patient (F=6.5099, P〈.01). 5. There was no significant difference in the degree of caregiver stress according to the level of patient self - care.

• 복식
• /
• 제61권9호
• /
• pp.84-96
• /
• 2011

This paper investigates the formative features and the historical meaning of the Korean dress collection held in the Museum of Archaeology and Anthropology in Cambridge. The Museum holds a total of eleven items of koran dresses that were donated by two anthropologists in the first half of the twentieth century. Male dresses consist of a white cotton jacket (Jeogori), a under-vest (Deungbaeja) made of light wisteria rings, a headband (Manggeon) made of horsehair, a broad brimmed top hat (Gat) made of black horsehair gauze, an oilskin cover (Galmo) drawn over the hat in wet weather, and a hemispherical hat box (Gatjib). Female dresses comprise a pink silk jacket (Jeogori), a blue silk skirt (Chima) with pleats, a pair of woman's white cotton trousers (Sokgot), a black silk cap (Jobawi) decorated with pink tassels and imitation pearls, and a pair of green and magenta silk shoes (Danghye) with leather soles and metal rivets. Theses Korean dresses show what the western anthropologists had interests in. When collectors collect the folk objects, they thought much of the specificity of shape and material, the esthetic appreciation, and the representation of daily life. In terms of the value as the historical materials in the history of Korean dress, the under-vest of wisteria, the hat box, and the female dresses are worth paying attention to. The under-vest is one that was produced in earlier time among the remaining under-vests. The hat box represents that the hat belonged to the merchant classes. The female dress items show daily dresses worn by women of higher classes of the society in the 1920s.

• 복식
• /
• 제57권2호
• /
• pp.11-28
• /
• 2007

Sang-uiwon was the bureau of Royal attire in Chosun Dynasty. It had been established in King TAEJO, Chosun Dynasty. The 597 artisans, sorted by 68 types were assigned to Sang-uiwon. The ministry of Taxation[Hojo] and Tribute bureau[Seonhvecheong] had charged of finances of Sang-uiwon. According to the Regular rule of Sang-uiwon, there were five types for finances. The principal income tax[Won Gong] was the assignments of national finance to Sang-uiwon. The materials for the Royal informal dress were offered by usual tributes. The kinds of usual tributes were the tribute for the Royal families' birthday, holidays such as New Year's Day, the fifth day of the fifth lunar month, the harvest festival[Chuseok], and the winter solstice, the tributes for spring and fall, every first day and fifteenth day of the month, an annual tribute, an annual present, and an annual laudatory goods which were the King's presents to His Majesty's lieges. With usual tributes from Sang-uiwon, the Royal informal dress was made by the dressmakers and embroiderers who were Court ladies. The Royal informal dress for the King and the Crown Prince was trousers[Ba JI], shirts[Sam A], jackets[Gua Du], men's gowns[Chul lick], and long vests[Due Grae]. The Royal informal dress for the Queen and the Crown Princess was loose drawers[Dan Ni Ui], long skirts[Chi Ma], shirts[Sam A] and jarkets[Go Ui]. When there were the king's proceeding outside the palace, royal parties, cases of tributes to Chinese, special tributes were offered according to the procedures, like as making letters about the affairs, consulting, and permission. The tributes were also offered by a royal ordinance. According to the kinds of Royal event, the officers of Sang-uiwon procured the Royal costume which were conformed to the Royal etiquette.

• 한국의류산업학회지
• /
• 제20권4호
• /
• pp.449-456
• /
• 2018

This study conducted a survey of members at sports climbing centers on the purchasing and wearing conditions of sports climbing wear and design preferences. 140 participants were in their 20's and 30's, and many of them engaged in sports climbing activities over 20 times a month. They put emphasis on the motion adaptability, durability, price and functional material when purchasing a climbing wear. However, only 23% of them used sports climbing wear. The reasons for wearing sports climbing wears were suitability for physical activity, comfort, and design. On the other hand, the reasons for not purchasing them were expensive prices and lack of designs. They experienced inconveniences at sleeves and waist in shirts. In case of pants, participants experienced inconveniences with the knee and thigh when they climbing. Concerning the damage of shirts, the majority experienced the elbow part was worn out, and the knee part was either worn out or torn at pants. Design preference results showed participants preferred loose-fit short-sleeved shirts that could cover half of the hip. In case of pants, they preferred basic-fit long trousers and basic hems with no functional characteristic. 3 sports climbing instructors answered that climbing wears should put emphasis on deodorization and antimicrobial effects as well as durability and suitability for physical activity. They also pointed out limitations in price and design and presented opinions about creating various sizes for different body parts by taking into account the growth of muscles.

• 복식
• /
• 제37권
• /
• pp.163-180
• /
• 1998

In western clothing, woman's body was port-rayed sexually as the distinction of sex was appeared, and the parts of body contain some kind of symbol of sex. Woman's body was diversly accentuated according to the divers ideal beauty concepts pursuits in the different periods. Today, in a Post-industrial Society whose social structure is very divers and complicated, the interpretation of woman's body reveals so various as the complex social structure. The purpose of this study is to comprehend the various interpretations of woman's body in the contemporary clothing. The concrete purposes of this study is as follows. First, this study is to define the concept of natural body and built body by differentiating the parts of body and searching for the sexual symbols accentuated in the western clothing. Second this study aims to review, the histori-cal process of prejudged distinction of sex in the western clothing, and to analyse the con-temporary sociocultural which forced to change this prejudged distinction of sex. Third, on the bases of this analses, this study also aims to present various interpretation on divers aspects of woman's body portrayed in the contemporary clothing. The interpretation of woman's body in the contemporary clothing were as follow. First, it is a body interpreted as a natural and neutral body which is based not so much on prejudged division of sex as on the expression of the body structure. And, it is a decomposed and recomposed body which is based on plastic principles. This body is portrayed by a layer-ing and wrapping which interrogated such traditional symbols of western clothing as collar, sleeve or trousers, skirt, etc. Second, it is a sexually symbolized body. This body is display-ed by exposure or sexual accentuation in the clothing. To conclude, a body interpreted in the contemporary clothing is no more a body accentuated by division of sex, but a body which per-mits indefinite hypotheses and interpretations under synthetic imagination.

• 복식
• /
• 제57권3호
• /
• pp.90-107
• /
• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency, and meet the audience's needs for various style.