• 패션비즈니스
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• 제24권4호
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• pp.19-29
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• 2020

The purpose of this study was to investigate Renaissance wall-covering fabrics through Flemish paintings, that provides the details of the origin and development of background of modern wallcovering. The methods of the study are as follows. First, the background of textile development of Flanders in the 14^th to 16^th centuries were examined through a prior study. Second, the shape and use of wallcoverings in paintings painted during that time were analyzed and the process of changing to modern forms was studied. The residential environment with many stone buildings in relatively humid and cold weather created a need for decorative fabrics. Back then, the wool and flax fabric were not allowed to be worn on the body, so the materials were used for the development of interior fabrics. The characteristics of wall covering in Flemish paint can be summarized with movable, allegory, and decoration. Movable stems from the arrival of the emerging aristocrats of Flanders, who had enormous commercial trade and carried decorative fabrics; the mobility has become an allegory in reality as the royal and aristocratic use of wall-decorated fabrics is the symbol of authority. In addition, unlike Italy, where silk was procured from the East, fabrics manufactured using flax and wool were not suitable for clothing in terms of religion and practicality and were used to decorate walls.

• 패션비즈니스
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• 제1권3호
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• pp.1-18
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• 1997

The purpose of this study is to investigate Modernism of Gabrielle Chanel in respect to her fashion business. Chanel always considered the work of a fashion designer 'a technique, a craft, a trade' and chastised couturiers who looked upon themselves as artists. She was the first to cater to the public in its broader sense and to produce standard which appealed to every taste, the first to democratize the art of dressmaking for purely economic reasons. The results were as follows; 1. Chanel personified ~his new spirit of independence and evolved a style of dress for the modern, liberated woman. 2. Chanel excelled at fabrics, their interpretation, and an ability to use them. She had taken a humble material, one that was used by men and that they had shunned, and turned it into a fashionable fabric. In the process she also accelerated the growth of the ready-to-wear industry for it was a fabric within the financial reach of the majority of woman who wanted to dress fashionably but were not well off. 3. Chanel thought black chic and would never go out of fashion. As American Vogue for 1 October 1926 prognosticated, her little black dress became a kind of uniform. 4. Chanel represented an exception among couturiers because she was flattered that her styles were so popular and widely copied. She believed that her style would be affirmed by high-street copies-after all, copying is the sincerest form of flattery. 5. Chanel changed the concept of costume jewellery. It was not an original idea of Chanel's. Whereas Poiret had pioneered the original idea of costume jewellery, it was Chanel's avant-garde way with it not to mention her usual deceptive simplicity and supreme artistry that made costume jewellery evolve a successful and lucrative part of the fashion industry.

• 한국의류학회지
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• 제32권6호
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• pp.959-967
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• 2008

본 연구는 한국과 미국간 성인 여성의 3차원 인체치수에 대한 지수치의 비교를 통해 양국간성인 여성의 신체의 비례를 분석하고, 이 연구결과를 대미 수출입 업무를 수행하는 의류업체의 생산자료 및 양국여성의 체형 차이를 이해할 수 있는 기초 자료로 활용할 수 있도록 하는데 연구의 목적이 있다. 본 연구의 분석대상은 Size Korea사업에 의해 수집된 18세 이상의 한국인 성인 여성 1,988명과 SizeUSA사업에 의해 확보된 18세 이상미국성인 여성 6,306명의 3차원 측정자료이다. 본 연구에서는 총 35개의 지수치(키, 몸무게, 기타 비만 파악 지수치)를 활용해 양국 성인 여성의 신체 특징을 파악하고자 하였다. 첫째, 양국 여성의 3차원 측정치간의 분석결과, 샅앞뒤길이는 양국간 유의차가 검증되지 않았고, 어깨경사각을 제외한 전체 항목에서 미국 여성의 측정치가 한국 여성의 측정치에 비해 유의적으로 큰 것을 확인하였다. 둘째, 지수치를 통한 체형 특징 분석의 타당성을 검증하고자 한국과 미국 여성 측정치 각각에 대한 상관분석을 행하였으며, 이 결과에 의거해 양국 모두 키와 몸무게 항목이 다른 주요 측정치와의 상관이 고르게 높은 것을 확인할 수 있었으므로 이 두 항목을 활용한 지수치의 비교가 유효함을 알 수 있었다. 셋째, 키 지수치, 몸무게 지수치, 드롭치 및 비만을 판단할 수 있는 지수치를 활용해 양국 여성간 차이를 분석한 결과, 직접측정치를 통한 분석과는 달리 키 지수치에서는 키에 대한 다른 높이항목의 지수치는 미국인 여성이 유의적으로 작지만, 키에 대한 타 너비항목의 지수치는 한국인 여성이 유의적으로 큰 것을 확인할 수 있었다. 또한 몸무게 지수치 비교 결과, 모든 항목에서 한국 여성의 지수치가 유의적으로 큰 것을 알 수 있었으며, 반면 드롭치와 비만판정이 가능한 지수치의 비교에서는 모두 미국 여성의 지수치가 한국 여성보다 유의적으로 큰 것으로 나타나, 미국 여성이 한국 여성에 비해 체간부의 굴곡이 큰 체형이며 비만도도 높은 것을 알 수 있었다.

• 무역학회지
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• 제41권3호
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• pp.63-107
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• 2016

본 논문에서는 우리나라의 15개 FTA를 대상으로 HS코드 6단위, 15가지 품목군 별로 엄격성지수를 도출, 분석하고 이를 토대로 원산지결정기준의 국가별, 시기별, 품목별 현황과 특성을 제시하였다. 분석결과 EU와 터키와의 FTA가 가장 높은 엄격성을 나타낸 반면 뉴질랜드, 페루, 인도와의 FTA는 가장 낮은 것으로 나타났다. 또한, 유럽권 FTA를 제외하고는 시간이 지남에 따라 엄격성 정도가 완화되고 있는 추세로 나타났다. 산업별로는 1차산품과 가공식품, 의류/직물/잡화의 품목에서는 엄격성지수가 높았고 반면 일반기계, 전기기계, 화학제품, 정밀기기에서는 낮게 나타났다. 이러한 결과는 관세율이 높고 경쟁력이 취약한 민감품목은 엄격하게, 교역활성화를 위한 품목들은 유연하게 설정하고 있음을 의미한다. 본 논문은 방대한 분량의 우리나라 FTA의 원산지결정기준을 체계적으로 분류하고 이를 근거로 국가별, 품목별로 엄격성지수와 원산지결정기준을 도출, 집대성했다는 데에 그 의의가 있다. 또한 향후 우리나라 FTA의 원산지결정기준의 방향성에 대한 시사점을 제공할 수 있는 2차 자료로 활용될 수 있을 것으로 기대된다.

• 한국의상디자인학회지
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• 제7권3호
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• pp.113-127
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• 2005

From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

• 복식
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• 제35권
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• 디지털융복합연구
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• 제15권9호
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• pp.23-33
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• 2017

국가 간 다양한 상품 무역에서 파생되는 물류업무를 처리하기 위해 세계 물류시장은 성장하고 있는 추세이다. 특히 의류물류는 매년 처리량이 증가하고 있으며, 세계 산업 중 손꼽히는 매출 기록을 나타내고 있다. 현재 의류품목은 고가의 제품으로 성장하였으며, 정교하고 알맞은 물류서비스가 요청되고 있다. 본 논문은 3PL 서비스를 제공하는 회사들이 앞으로 성장하고 있는 의류시장에 대한 서비스 및 오퍼레이션에 대응할 수 있도록 효과적인 운영방안을 제시하는 것에 연구목적이 있다. Fuzzy AHP방법을 사용하여 의류창고 운영에 대한 중요요인의 가중치를 산출하였다. 분석결과, 1위로는 인력교육(0.17) 2위로는 화재관리(0.169), 3위로 입출고 관리(0.142)로 나타났으며, 4위와 5위는 각각 Warehouse management system 및 바코드 시스템으로 확인되었다. 즉 '의류' 특성을 정확히 이해하고 이를 바탕으로 인력교육, 화재관리 그리고 입출고관리를 수행해야하며, 이를 통하여 의류물류 서비스의 질을 제고할 수 있다.

• Acta Via Serica
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• 제6권2호
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.