• 한국의류산업학회지
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• 제14권5호
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• pp.766-777
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• 2012

The 13 genre paintings by Junkeun Kim in the book "Korean Games(by Stewart Culin 1858~1929)" were used to study the late $19^{th}$ century's basic costumes and Games style in Korea. The people who appear in the paintings are 26 adult males, 2 minor males, 2 adult females and 3 kisaengs. Typical men wore 'Jeogori' which had various colors and white linings with a reached hip line, and knotted with a 'go-rum' on the right side. They also wore, white colored 'Baji' with colorful sash that were knot below knee or ankle together with 'Hang-jun' or 'Daenim'. They wore 'Beoseon'. Some men wore 'Po' whose colors were blue, green, indigo, white. The general women wore 'Jeogori' in deep green and light pink, indigo, green, red, and they matched with colors for 'Kit' and, 'Go-rum', 'Kut-dong' and its 'Go-rum' was short and narrow. It was so fit and short with narrow sleeve. It had 'Dunggun-kit'(round head collar) with white 'Dong-jung' and so it fit at neck. They wore 'Chi-ma' whose color was red, light green, or light indigo. It contrasted with 'Jeogori'. The width of 'Chi-ma' was big enough. Then white inner slacks came out under the skirt. Traditional Korean games can be classified according to age and gender. Then the games can be further classified into three categories : men's games, women's games, and games for all. The games for adult are an archery practice, hunting, shovel work with a karae, making a bow, drawing Jongkung-chart, Korean chess, playing paduk, and the Korean card game. A swing is a game for women. Games for both men and women are dice play, and domino game. Games for both adult and minor males are sledge, and tightrope walking. Through genre paintings in the $19^{th}$ century, I reached a conclusion that basic costumes are similar to 'Hanbok' at the present time and the method of wearing them has not changed much. It appears that the originality of traditional costumes has been maintained.

• 복식
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• 제57권2호
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• pp.69-85
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• 2007

Despite the recovery of consumer expenditure and retailing in the Korean economy after 2001, the domestic apparel industry has been aggravated by negative growth in both productivity and production. The purpose of the stud? is to diagnose the develop competitive of the Korean apparel industry and derive implications for this after estimating the efficiency of the Korean apparel companies with Data Envelopment Analysis. Data Envelopment Analysis(DEA) is a methodology based in non-parametric analysis and linear programming. It was developed for measuring the relative efficiency of a set of firms that use inputs to produce outputs. Data used fer input and output variables in the analysis are drawn from financial statement recorded by the Korean Financial Supervisory Service. The initial input data comprise the number fo the employees, fixed assets, general management and selling expenses, and cost of sales. The initial outputs are the operating profit and the gross margin. To summary the results, the efficiencies of the Korean apparel companies has increased yearly in spite of being overabundance of investment in Labour and Capital. According to correlation between input and output variables, the Korean apparel industry has been revamping gradually from labor intensive industries to the capital. The companies need to reduce costs in the results from the number of employees, fixed asset and cost of sales to transform into an efficiently enterprise. The companies owning or obtaining a brand had bitter establish an outsourcing strategic in production, while OEM corporations are called far setting up a manufactory in domestic or abroad. Although the paper is derived some implications with production efficiencies, the relation between apparel companies and brand power, consumption level of consumer, and social trend is remained on a limitation to the study. The next research necessitates a topic with Fashion industry or examining the correlation between brand value, social propensity and profit margin.

• 한국의류산업학회지
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• 제13권5호
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• pp.728-733
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• 2011

U.S. apparel brands are being imported to Korea more than any other country's apparel brands. Against this backdrop, this study intends to verify the fitness of U.S. apparels for Korean people in terms of size. To this end, the authors selected 25 American and 25 Korean women in their twenties and studied the differences of these two groups with regard to the size of their lower body parts. In addition, the authors analyzed how the size of each part of the lower body changes according to different postures. All the study subjects were required to be able to wear medium-sized pants of the U.S. apparel. The results of the present study are shown below. The American women were bigger than the Korean counterparts in leg length, hip circumference, thigh circumference, and all height-related sizes. However, the Koreans were bigger than their peers in lengths from waist to crotch; crotch length, body rise and the length from front waist point to hip line. Standing posture was used as a yardstick, when the changes in size according to the different postures were examined. The results indicate that hip and knee circumferences increased in the sitting posture. In particular, hip circumference significantly increased in the American women group. Regarding length-related sizes, increases and decreases in sizes for different lower body parts differed according to the posture. For a walking posture with ordinary strides, the front crotch length decreased while the back crotch length increased. This tendency was more notably observed for Korean women. The American woman clearly showed a decrease in outside leg length for all postures. The Korean women obviously presented an increase in the front center leg length for the sitting posture and for the posture where the knees were bent at $120^{\circ}$. The length from the front waist point to the hip line significantly declined in the Korean woman for the sitting posture and for the walking posture with ordinary strides.

• 한국의류산업학회지
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• 제13권4호
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• pp.600-613
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• 2011

The purpose of this study is to provide Torso pattern for Korean middle-aged women using 3D human body scan data. 155 women in their 40's or 50's were measured by Martin's anthropometry. Merging the data of 914 middle aged women provided by Korean agency for technology and standards, total of 1,069 subjects' data were analyzed. For data analysis, ANOVA, factor analysis and cluster analysis were done using SPSS PC+. And representative subject of each cluster was selected and they participated in 3D scanning and Torso pattern suggested for middle-aged women Torso pattern which investing the amount of ease according to each group for diffuse front interscye 30%, armscye circumference 30%, back interscye 40% using 3D human body scan data. The results of this study are as follows. Firstly, as a result of the factor analysis, the first factor was 'obesity index of body', The second factor was 'verticality size of body', The third factor was 'verticality length of upper bodice', The fourth factor was 'drop value to represent silhouette', and the fifth factor was 'physique of upper bodice'. And, middle-aged women type were classified 3 types according to the cluster analysis. Type 1(Y-type) was the long upper Torso with wide shoulder. Type 2(H-type) was flat-body type with comparatively thin upper bodice and thin lower bodice. And type 3(A-type) was the obese type with comparatively thin upper bodice and fat lower bodice. Secondly, using CAD program, point filtering was performed and approximated surface model was made. It used that generated surface smoothing corrected for abnormally extruded points and scattered points based on the curvature information. And 3D surfaces were flatted onto the plane by the internal tools of CAD program. Difference ratios of outline length and area between 3D curves and 2D plane were 0.42% and 0.54%, respectively. Third, wearing test by the sensory evaluation showed that distinct difference almost every category. The movement functionality test shows that, in all the tests which reveal significant differences, especially, 'comparison pattern A' experienced inconvenience to neck width and neck depth.

• 한국의류산업학회지
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• 제1권2호
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• pp.173-181
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• 1999

한국의 청실양식은 84.9%가 요와 이불을 사용하여 온돌의 방바닥에 누워 자는 형식이다. 이에 본 연구는 온돌 난방 주택에서의 수연환경의 실태를 파악하기 위하여 온돌침실의 온열환경, 침상기후, 수면시 생리반응을 각 가정의 일상생활 중에서 직접 측정하여 계절별, 주택형태별에 따른 수면환경의 차이를 분석하였다. 그 결과, 계절 및 주택형태별에 따른 수면환경의 큰 온도차이에도 불구하고 수면 중 인체와 접촉하는 이불 밑과 요 시트의 침상온도는 계절과 주택형태에 관계없이 연평균 $30.5{\sim}34.1^{\circ}C$로 쾌적한 침상 내 온도를 나타내었을 뿐만 아니라 수면 중 직장온도도 연평균 $36.8^{\circ}C$로 계절 및 주택형태에 따른 유의한 차이는 인정되지 않았다. 그러나 침실환경에 대한 주관적 온열감각은 주택형태에 따라 유의한 차이를 나타내어 침실의 온열 중성점이 아파트 $25.9^{\circ}C$, 단독주택 $20.3^{\circ}C$로 아파트가 단독주택보다 $5.6^{\circ}C$ 높게 나타났다. 이는 건물의 구조가 주택은 조적조의 구조인 반면 아파트는 철근콘크리트의 구조로 우수한 단열력을 가지므로 외기온의 영향을 받기 어려워 높은 실내온도를 유지하였기 때문이다. 뿐만 아니라 거주자들이 주택 내 환경에 적응되어진 결과라고도 할 수 있겠으나 아파트 거주자의 측면에서는 온열환경에 대한 에너지 절약, 건강 유지 등의 관점에서 보다 효율적인 난방을 위한 쾌적한 생활온도 설정을 재고할 필요가 있다고 하겠다.

• 한국멀티미디어학회논문지
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• 제16권4호
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• pp.529-537
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• 2013

의류 패션산업에서 IT화가 진행되고 있으며 그 중 패션쇼는 디지털 시대의 흐름에 발맞추어 빠르게 변화하고 있다. 본 연구에서는 가상의상을 제작하여 실제의상과 유사하게 재현이 가능한지를 살펴보고, 이를 통하여 디지털 패션쇼를 구현한다. 이때 기존의 패션쇼 보다 아이디어를 창의적으로 표현 할 수 있는지, 효율성 및 보완해야 할 부분은 무엇인지 등 실제 사례 개발 연구를 통해 제시하였다. 그 결과 가상 의상은 매우 유사하다는 평을 받았으며, 실제 패션쇼에서는 재현하기 어려운 연출이 본 연구를 통해 보다 창의적이고 용이한 방법으로 실현 가능하였다. 미래에 3D 가상의상을 실제 패션산업에 도입한다면 유통 및 산업의 혁신을 통해 새로운 콘텐츠 창출이 가능할 것이다.

• 한국경제지리학회지
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• 제4권2호
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• pp.79-96
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• 2001

일반적으로 클러스터는 첨단기술의 제조업, 특히 IT기반 산업이나 수직적으로 통합된 장인산업 등으로 이루어지며, 대개 벤처자본과 엔젤자몬 등과 함께 다양한 정부의 지원과 사업 인프라를 통해 이르게 성장하는 특성을 보인다. 대부분의 클러스터연구는 이러한 지식기반산업의 군집과 혁신의 특성을 연구한다. 이 연구는 서울 중심부에서 발달한 새로운 형태의 산업클러스터의 특성을 분석한다. 서울의 전형적인 도심주변부로서 지역의 쇠퇴와 교통 혼잡, 환경문제가 심각한 청계천로상의 전문상가로는 지식기반산업이 아니라 의류와 패션산업의 군집으로 인해 가장 역동적이고 혁신적인 지역으로 변모하고 있다. 이러한 새로운 형태의 산업클러스터의 특성과 사회적 자본의 형성에 대한 연구는 클러스터이론과 내분도시의 변화에 대해 새로운 시각을 제시할 수 있을 것이다. 이 글에서 먼저 청계천로 전문상가로의 성장에 대해 간략히 고찰한 후, 새로운 형태의 클러스터의 제도적, 공간적 특성을 살펴본다. 또한 생산-분배-판매-장소소비 등이 한 곳에서 이루어지는 청계천 클러스터의 핵심 구성요소들의 발달과정을, 지역적 네트워킹, 사회적 자본, 제도화, 장소성에 기반한 사회 문화경제적 기제 등의 개념으로 설명한다. 마지막으로 서울의 새로운 산업 클러스터 발전에 대한 전망과 향후 연구과제를 제시한다.

• 한국의류산업학회지
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• 제7권2호
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• pp.143-152
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• 2005

A concept of 'digital' is changing a living pattern of moderners, with having influence on the whole life of modern society. The purpose of this study is arrange the frame of conformity to the 'fashion as culture' by considering the social and cultural phenomena being shown in relation to digital, which is a concept being watched most for the 21st century and by trying to analyze a tendency of digital culture being shown in the modernly fashion design based on this. The digital culture, which is a concept of generalizing the phenomena of interactional changes in the sub-structure being derived by digital technology, is being shown as a tendency of fusionization and globalization, and due to this, the culture of digital nomads is being formed. On the other hand, a tendency of amenity caused by the reaction against the coldly digital technology, is forming one axis of digital culture. As the culture, which experiences the process of a change by digital technology, is reflected even on the fashion, the fusion of technology and the human body, brought about the appearance and the development of the artificial body, by allowing the wearable computer to be introduced to fashion and by being connected directly to the body. This means the expansion of range for fashion. The destruction of a border between space and space, is making an opportunity of forming another ego inside the cyber space, with bringing about the mixed loading between the cyber space and the real space. As the border between the cyber space and the real space is being collapsed, the space of newly self-realization is being created. The collapse of gender is being shown as the pursuit of gender, which is a nomadic concept of not giving priority to anywhere of male gender and female gender. The tendency of sensitive design introduced the sports look as the largely fashion trend. Fascinated with Zen thoughts is leading to a response to the swiftly and coldly social conditions caused by machine. The digital culture by digital technology and the fashion tendency being shown by its influence, meet the needs of self-realization and self-expansion for a human being, and satisfy the needs for the expression of self-identity for a human being, and enable the search for introspection about inner existence inside the self.

• 한국의류산업학회지
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• 제7권4호
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• pp.407-412
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• 2005

This study is to establish the pattern for one piece dress which fits well to the women somatotype with different drop value and is functional and has high body fitness. Selected 2 testers from classified 4 types who were close to the average value and took twice dressing test. After successive correction and revision, patterns of one piece dress for each somatotype were established. M type ; Bust line is established to B/4+1.7 cm. Waist line is W/4+1.5+2.5 cm(dart amount) for front pattern and W/4+0.8+2 cm(dart amount) for back. Hip line is H/4+0.8 cm for front and H/4+0.8 cm for back and the bust dart amount is 2.5 cm. A type ; Bust line is established to B/4+1.7 cm. Waist line is W/4+1.5+2.5 cm (dart amount) for front pattern and W/4+0.8+2 cm(dart amount) for back. Hip line is H/4+1.5 cm for front and H/4+1 cm for back and the bust dart amount is 2.2 cm. X type ; Bust line is established to B/4+1.5 cm for front pattern and B/4+2 cm for back. Waist line is W/4+2+2.5 cm (dart amount) for front and W/4+1+2+1.4 cm(for two darts amount) for back. Hip line is H/4+1 cm for front and H/4+1.3cm for back and the bust dart amount is 2.8 cm. H type; Bust line is established to B/4+1.5 cm for front pattern and B/4+2cm for back. Waist line is W/4+1.7+2.5 cm (dart amount) for front and W/4+0.8+2 cm(dart amount) for back. Hip line is H/4+2 cm for front and H/4+1.5 cm for back and the bust dart amount is 2.8 cm. In order to achieve the objective evaluation on a new pattern in this study, the sensory evaluation for both Imwonja pattern and a new pattern in this study was completed. As a result of sensory evaluation, a new pattern of this study could accomplished a good appearance in reflecting characteristics of each types and could achieved the functional superiority than comparison pattern.

• 한국의류산업학회지
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• 제9권6호
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.