• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.708-717
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• 2017

Industrial innovation in Britain, during the eighteenth and nineteenth centuries, stimulated the introduction of the factory system and the migration of people from rural agricultural communities to urban industrial societies. The factory system brought elevated levels of economic growth to the purveyors of capitalism, but forced people to migrate into cities where working conditions in factories were, in general, harsh and brutal, and living conditions were cramped, overcrowded and unsanitary. Industrial developments, known collectively as the 'Industrial Revolution', were driven initially by the harnessing of water and steam power, and the widespread construction of rail, shipping and road networks. Parallel with these changes, came the development of purchasing 'middle class', consumers. Various technological ripples (or waves of innovative activity) continued (worldwide) up to the early-twenty-first century. Of recent note are innovations in digital technology, with associated developments, for example, in artificial intelligence, robotics, 3-D printing, materials technology, computing, energy storage, nano-technology, data storage, biotechnology, 'smart textiles' and the introduction of what has become known as 'e-commerce'. This paper identifies the more important early technological innovations, their influence on textile manufacture, distribution and consumption, and the changed role of the designer and craftsperson over the course of these technological ripples. The implications of non-ethical production, globalisation and so-called 'fast fashion' and non-sustainability of manufacture are examined, and the potential benefits and opportunities offered by new and developing forms of social media are considered. The message is that hand-crafted products are ethical, sustainable and durable.

• Proceedings of the Korean Society of Computer Information Conference
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• 2022.07a
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• pp.531-534
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• 2022

최근 국악계가 지향하는 국악의 발전 방향은 국악의 대중화 및 현대화에 초점이 맞춰져있다. 이에 국악인들은 창작 국악, 크로스 오버 국악 등의 새로운 국악을 연주하는 공연을 진행해오고 있으나 타 분야의 기술 융합을 통한 국악 관련 콘텐츠 개발의 측면에서 제작된 디지털 콘텐츠들은 두각을 드러내지 못했다. 다수의 선행연구에서는 국악 소재 디지털 콘텐츠에 관한 학술적 연구가 미미하다고 언급하며 이에 대한 연구의 필요성을 강조했다. 이에 따라 본 연구는 국악 소재 디지털 콘텐츠의 특징에 관한 사례연구를 진행했다. 사례조사 범위는 국내 스마트폰 보급이 본격화 된 2009년부터 2022년까지로 설정하여 해당 자료를 수집했다. 본 연구의 분석기준은 사례를 크게 콘텐츠의 기능적 측면과 내용적 측면으로 나누어 국악과의 연계성을 분석하는 데에 집중했다. 연구 결과 팬데믹으로 인한 언택트 형태의 온라인 국악 교육 콘텐츠가 주를 이루었고, 정보 콘텐츠와 교육 콘텐츠의 사례가 모두 이에 해당했다. 공연 콘텐츠는 LED 기술을 사용한 의상을 입은 퍼포먼스형 공연의 형태와 3D 미디어 아트가 주가 되는 음악회의 형태가 있고, 오락 콘텐츠는 리듬 게임과 스토리텔링형 게임으로 나눌 수 있었다. 본 연구는 선행연구에서 언급한 국악 콘텐츠 연구의 한계점을 해소하고자 수집한 자료를 본 연구의 분석 기준에 적용하여 특징을 도출하는 데에 그치지 않고 더 나아가 향후 국악 소재 디지털 콘텐츠가 개발되어야 할 방향을 제안했다는 점에서 연구의 의의를 지닌다. 또한 사례의 연도별 추이를 파악하였으므로 국악을 소재로 한 콘텐츠 제작 사례에 관한 연구를 진행하는 향후 연구자들에게 기초자료로서 도움이 될 것으로 사료된다.

• Fashion & Textile Research Journal
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• v.26 no.1
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• pp.35-43
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• 2024

This study aimed to objectively classify the lateral torso posture types and functions of older women. We used 3D body scan data of 119 women aged 70-85 years from the 6th SizeKorea project. First, we defined three torso axes to represent the lateral torso posture types: posterior waist-back, back-cervical, and whole torso axes. Next, we asked experts to select one of four lateral torso posture types-stooped, straight, leaning back, and swayback postures-by looking at the lateral photographic data of 119 older women. To identify the axis that best represented each lateral torso posture type, a discriminant analysis was conducted using the angle of each of the three torso axes as an independent variable and an expert's visual classification as a dependent variable. Based on the analysis, the whole torso and backcervical axis angles were selected as variables for judging lateral torso posture types. Subsequently, we developed a classification function to determine which of the four lateral torso posture types of a particular participant was applicable for a new individual. The method developed in this study is significant in that it enables the objective classification of the lateral torso postures types of older women.

• Journal of Preventive Medicine and Public Health
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• v.6 no.1
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• pp.27-41
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• 1973

In order to provide some basic data for the control of air and water pollution in Korea, the authors have estimated the amount of air and water pollutants emitted from industries which are employed over 20 employees. This study have done from July 1, 1972 to the end of March 1973. The results are as followings; 1. Total number of establishments with over 20 employees is 5,197 in Korea and the largest group establishments was the manufacturing of textiles with 1,363 establishments (26.2%). 2. By order of number of employees it was observed that there 2,800 industries with 20-59(53.9%) employees, 1,101 with 50-99 (21.2%), 571 with 100-199 (11.0%), 501 with 200-499 (9.6%) and 225 with over 500 (4.3%) respectively. 3. By order of regional distribution, it was observed that there were 2,257 industries in Seoul (43.2%) and 736 industries in Pusan(14.2%). 4. Industrial coal consumption was 596,154 M/T in 1972, but it' 11 be 315,000 M/T in 1980. Fuel consumption was 4,972,000 K1 in 1972, and estimated volume will be 19,370,000 K1 in 1980. 5. Total amounts of air polutants entitled from industries by fuel combustion were sulfur oxides 79,459 tons, carbon monoxide 33,908 tons, particulate 31,304 tons and hydrocarbon 30,280 tons in 1972 but in 1990 there will be sulfur oxides 1,010,474 tons, nitrogen oxides 204,575 tons, carbon monoxide 68,014 tons, particulate 64,820 tons and hydrocarbon 67,622 tons, respectively. 6. Annual emitted air pollutants through the working processes were sulfur oxides 91,250 tons and nitrogen oxides 32,485 tons in 1972, but sulfur oxides 118,625 tons and nitrogen oxides 42,555 tons will be present in 1980, respectively. 7. Annual emitted air pollutants by national unit area amounted to $0.77ton/km^2/year$ in 1965 and $14.7ton/km^2/year$ in 1980. 8. Total industrial wastes from all industries in Korea were estimated at 810,360 tons/day in 1972; manufacturing of chemicals and plastic products showed the highest amount of wastes at 470,000 tons/day. 9. The amounts of water pollutants due to industrial wastes were the B.O.D., 471.5 tons/day, suspended solid 331.5 tons/day, CN, 2.3 tons/day, and Cr. 3.4 tons/day in 1972, but it might be evident of a B.O.D. of 3,388 tons/day, suspended solid 2,544 tons/day, CN 20.1 tons/day, and 26.5 tone/day in 1990. 10. Total population equivalent of B.O.D. was 943,000 in 1972, and the estimated value in 1950 will be 6,780,000.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.4
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• pp.149-166
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• 2021

This study tried to suggest a drafting method to draft tight fit torso patterns suitable for adult males with a sway back somatotype and a bend forward somatotype by setting and distributing the ease through the completion of the somatic surface pattern using the 3D body surface segment method. It was intended to be presented as a drafting method. As for the research method, the suitability of the somatic surface patterns and the tight fit torso patterns were confirmed by the evaluation of virtual wear, and the patterns were modified and supplemented. The research results are as follows. In the first evaluation of the tight fit torso patterns, the average, for 55 evaluation items, was 3.92 points for the sway back somatotype and 3.89 points for the bend forward somatotype. In the second evaluation, the bend forward somatotype was 4.51 points and the sway back somatotype was 4.62 points. The chest circumference ease amount for the bend forward somatotype and the sway back somatotype are 6.5% (6.8 cm) and 7% (6.8 cm) of the chest circumference, respectively, and the distribution of the front and back ease is the same at 4:6 (2.72 cm:4.08 cm). The waist circumference ease amount is 6.5% (5.8cm) and 6.5% (5.6 cm) of the waist circumference dimensions, and the distribution of the front and backease are 5:5 (1.45 cm: 1.45 cm) and 4:6 (2.24 cm: 3.36 cm), respectively. The completed tight fit torso patterns were converted into institutional formulas and presented as a drafting method.

• Korean Journal of Human Ecology
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• v.15 no.5
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• pp.791-802
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• 2006

The construction of athlete's tight-fitting garments by reducing the elastic knit pattern is an interesting subject, which directly influences the performance of the wearer. Therefore, relationships between the reduction rates of the men's pants pattern obtained using measurements of Size Korea 2004 and clothing fitting were explored to improve clothing comfort. Two pattern making methods were developed and the reduction rates were applied to those pants depending on the parts of human body. The four male subjects were university students in the ages of 20 to 24. Subjective wear sensations of the experimental garments were rated using seven Likert scales during 4 consecutive days. While wearing the garments, subjects were kept four various postures including waist flexion and sitting etc by requests of the researchers. Likert type scale was used for the evaluation and 7 point indicates that it gave the best fit as tight-fitting pants. As results, differences in the length and girth between two piece pants pattern(style 1) and one piece pants pattern(style 2) were 0.0$\sim$0.3cm. Between two pattern making methods, one piece pants pattern(the style 2) was superior to two piece pants pattern in terms of subjective sensation and fit. Among eight tight-fitting pants, C, D, G, H pants were superior in terms of fitting and stability of waist and hip part to the others. ill case of tight-fitting pants, the reduction rate of the pattern in the course direction, the reduction rate of T2/3(66%) was better than that of T/2(50%), but the reduction rate of the pattern in the wale direction, that of the part of crotch, which was very sensitive part, should be kept the same as suggested earlier by Ziegert(1988).

• Science of Emotion and Sensibility
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• v.14 no.1
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• pp.117-126
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• 2011

This study investigates the physical properties and manufacturing method of shape memory fabric for emotional garment made by polypropylene. For this purpose, polypropylene(PP) POY and SDY were texturized using low temperature and constant length heat treatment texturing technologies, respectively. The shape memory fabrics made using these texturized PP yarns were woven with two kinds of PET and PTT shape memory yarns on the air-jet loom and the various physical properties of four kinds of shape memory fabrics were measured and discussed. The tenacity and breaking strain of PP texturized yarns treated by low temperature and constant length heat treatment showed high weaving efficiency and the wet thermal shrinkage of PP textured yarns was shown less than 1.5%, dry thermal shrinkage was ranged between 3% and 5%, which means thermal stability compared to the PTT textured yarn with high thermal shrinkage, 5~8%. The shape memory characteristics of PP shape memory fabrics measured by Toray method showed five grade as same value as PTT shape memory fabric. The heat keeping property of the PP shape memory fabric showed 56% higher value than that of PTT shape memory fabric. The water repellency of PP shape memory fabric measured by spray method showed five grade as same value as PTT shape memory fabric treated with water repellent agent. Especially, shape memory properties of PP shape memory fabric measured by 3-D image and camera measurement methods showed similar characteristics to the PTT shape memory fabric.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.726-736
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• 2015

The apparel industry has recently been recognizing the important target market of middle-aged women. The aim of this study was to examine the anthropometric characteristics of US women of 46 to 65 years of age and identify distinctive body shape characteristics of US middle-aged women. A total of 1915 middle-aged women whose ages ranged from 46 to 65 were selected from the SizeUSA database. The age range was divided into two groups: 46-55 and 56-65. Twenty-four body measurements important for apparel development were chosen. Four factors-Girth Factor, Height Factor, Hip Drop Factor, and Bust Drop Factor-accounted for the US middle-aged women's body measurements. The body shapes were classified into four body shapes, which were Y-Shape in the overweight range, S-Shape in the overweight range, H-Shape in the overweight range, and the A-Shape in obese range. H-Shape, which was the least-defined waist in relation to the bust and hips with a short height, existed more in older middle-aged women than in younger middle-aged women. Y-Shape, S-Shape, and A-Shape existed more in the group of younger middle-aged women than in the group of older middle-aged women. In addition, compared with the younger middle-aged women, older middle-aged women had narrower shoulders, a larger waist, thinner legs, and a longer distance between side neck to bust point. The findings from the current study may be applied in the apparel industry for developing clothing sizing systems for US middle-aged women.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.25-34
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• 2010

Design in the 21st Century requires showing extraordinary and revolutionary possibilities by merging multiple cultures or different art forms. 21C fashion also increases its's complexity through the blending in of other design field's styles and forms. In other words, 21C's fashion design involves not only clothing, but combines techniques, aspects and functions fulled from various design categories. As a result, Current fashion design becomes more unique, and shows various styles. From this point of view, this study focuses on creating and suggesting unique textile designs through the understanding of design processes of textiles, which are inspired by high tech architectural structures. The fundamental shape of the architectural structures were simplified into thick lines and geometric shapes. these design elements were then transferred into textile designs. As a result, unique textile looks were created, and were applied to the apparel designs by CAD to see 3d simulations. Exchanging or merging ideas of different design categories leads innovative and fresh looks. 21C is rapidly changing, and designers need to continually introduce new looks every season. Incorporating 21st Century consumption patterns, designers must understand the process of creating original designs through various methods. The innovative fabric designs for this study involved a creative process of drawing from a step by step breakdown of two separate design fields, which were then merged into one finished design. The data and research from this study can be used as a reference tool for any further applicable fashion and textile designs in the future.