• 복식문화연구
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• 제15권4호
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• pp.551-568
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• 2007

The purposes of this study were to identify factors of dissatisfaction and complaining behavior in internet fashion shopping mall, and to investigate constructs of service recovery for solution to this problems. Data were obtained from 201(male: 87, female: 114) internet fashion shopping mall consumer who have experiences of dissatisfaction and complaining behavior after buying products, and were analyzed using by descriptive analysis, factor analysis, Cronbach' $\alpha$, t-test. The results were as follows. First, the most response(80.4% of reponses) was experience to dissatisfaction through internet fashion shopping mall, and the most dissatisfied items were blouse, sweater, T-shirt in upper garment. Also, in men's case, the most satisfied price zone was not exceeding $30,000{\sim}50,000\;won$ and in women's case, it was not exceeding $20,000{\sim}30,000\;won$. Second, 7 factors of dissatisfaction(called quality, payment, delivery, price, interaction, returning/changing/refunding, contract) were identified after purchasing fashion products from internet shopping mall. 3 factors of complaining behavior(called private action, legal action, remedial seeking action) were investigated. Third, constructs of perceived service recovery were extracted from literature review: perceived interaction and justice. Perceived interaction were categorized into two factors: the interaction on the part of the consumer, the interaction in the part of the shopping mall. And perceived justice were categorized into three factors: interactional justice, distributive justice, procedural justice. Usually, university students were likely to take a serious view of service recovery through interaction and justice with internet fashion shopping mall.

• 한국해양환경ㆍ에너지학회지
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• 제19권1호
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• pp.74-85
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• 2016

진해만의 소규모 내만인 당항포만, 당동만, 원문만, 고현성만, 마산만에서의 해수교환율 평가를 위하여 EFDC 모델을 이용해 진해만 전체의 해수유동을 재현하고, 라그랑지(입자추적) 및 오일러(염료확산) 모델기법을 병행하여 해수교환율을 각각 산정하였다. 그 결과 입자추적 방법으로 산정한 해수교환율은 당항포만에서 60.84%로 가장 높고, 마산만에서 30.50%로 가장 낮게 평가되었고, 염료확산 방법으로 산정한 해수교환율은 당항포만에서 45.40%로 가장 높고, 마산만에서 34.65%로 가장 낮게 평가되었다. 당항포만에서 해수교환율이 가장 좋은 이유는 좁은 만 입구로 인한 유속의 가속화 때문이며, 입자추적 방법의 경우 입자가 빠져나갔다가 다시 들어오기 힘든 형태적 특성 때문으로 판단되었다. 한편, 라그랑지 입자의 경우 낙조류에 의해 만을 빠져나갔다가 창조류에 의해 다시 유입될 때 온전한 입자가 그대로 유입하지만, 염료의 경우에는 만을 빠져나간 후 다시 유입하더라도 외해수에 의해 희석되어 유입하기 때문에 염료확산 방법으로 산정한 해수교환율이 전반적으로 더 높게 나타나는 경향을 보였고, 두 가지 방법에 의해 산정된 해수교환율은 같은 조건에서 비교하더라도 상대적으로 전혀 다르게 나타났다. 따라서, 해수교환율을 평가할 때에는 이 두 가지 방법을 병행하거나, 연구의 목적 및 해역의 특성을 충분히 고려하여 모델링 기법을 선정해야만 보다 합리적인 결과를 얻을 수 있을 것으로 판단된다. 한편, 폐쇄도 지수와 라그랑지 및 오일러 방법으로 산정한 해수교환율을 비교한 결과, 폐쇄도 지수가 높을수록 수치모형 기법에 상관없이 해수교환율이 높게 나타났다. 따라서, 폐쇄도 지수가 만의 폐쇄성을 지시하는 지수로 사용하기에 적합하지 않고 수정 및 보완이 필요하다고 판단되었다.

• 한국의류학회지
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• 제33권6호
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• pp.990-1001
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• 2009

본 연구는 지각자의 성별, 의복, 헤어스타일이 남성의 전문성 및 선호도의 시각적 평가에 미치는 영향을 조사하는데 그 목적이 있었다. 연구방법은 준실험방법이었으며, 실험설계는 $2\times8\times2$(지각자의 성별$\times$의복$\times$헤어스타일)의 요인설계를 사용하였다. 자극물은 20대 남성의 사진 16장이었다. 의복은 베이지색과 남색의 테일러드 칼라 재킷, 베이지색, 남색, 빨강색의 점퍼와 스웨터였고, 하의는 청바지를 착용하였다. 헤어스타일은 길이에 따라 짧은형과 중간형으로 구분하였다. 조사대상자는 서울지역의 남성 208명과 여성 223명이었다. 청바지와 함께 베이지색 스웨터를 착용하는 것은 지성적 이미지가 높게 보였고, 빨강색 점퍼의 착용은 지성적 이미지가 낮게 보였으며, 베이지색 재킷은 역능적 이미지가 낮게 평가되었다. 남성의 짧은 헤어스타일은 중간형 헤어스타일보다 전문성이 높게 평가되었다. 남자 지각자는 여자보다 짧은 헤어스타일을 더 선호하였으나 여자는 헤어스타일 선호도가 유사하였다. 여자는 테일러드 칼라의 재킷과 수티앵 칼라의 점퍼에 대한 선호도가 유사하였으나 남자는 재킷보다 점퍼의 선호도가 더 높았다. 베이지색 재킷에는 중간형 헤어스타일, 빨강 스웨터에는 짧은 헤어스타일이 전문성이 높게 평가되었다. 남자 지각자는 청바지에 수티앵 칼라의 점퍼를 착용한 것을 청바지에 테일러드 칼라의 재킷을 착용한 것보다 더 긍정적으로 평가함으로써 남자가 여자보다 옷차림에 대해 보수적인 태도를 나타냈다. 또한 청바지 차림에서는 점퍼를 입고 짧은 헤어스타일을 한 남자가 긍정적으로 평가되었고, 재킷을 입고 중간형 헤어스타일을 한 남자는 부정적으로 지각되었다. 결론적으로 베이지색 재킷에는 중간형 머리, 빨강 스웨터에는 짧은형 머리가 전문성이 높게 보였으므로 의복과 헤어스타일이 상호작용하여 전문성 평가에 영향을 준다고 할 수 있다.

• 한국의류학회지
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• 제18권1호
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• pp.65-80
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• 1994

In the 20th century, The artistic world was constantly producing new ideas and movements and the world of fashion responded to and reflected them all in greater of lesser degree. Dress designers have always been aware of what is happening In the arts and have always been able to use the discoveries and ideas of the artist to help them solve design problems and create fashion which are new, inventive and reflective of thier time. Up to the present, other researchers have investigated the connections between the fine arts and the Modern Fashion. In this respect, the objective of this research was to clarify the characteristics of painting of the Impressionism on the Modern Fashion. In order to investigate the relationship between the trend of painting and Modern Fashion. Especially, Impressionism's light and color affected both 20th's painting and other sorts of art. That is, the trend of the modern painting, Fauvism, Cubism, Surrealism, Abstract art, Abstract Expressionism, was influenced by Impressionism painting. Similarly, in the sihouette, line, color, fabric pattern of the Modem Fashion was represented characteristics of the Impressionism Painting. The fashion's Fauve, Paul Poiret was excited by the power of color in the same intense way as the 'wild beasts' of art. The color of his clothes during that period was bold and brilliant. Gabrielle Chanel simplified the shape of women's clothes to a square cardigan and rectangular skirt. This was a cubist concept. Art and fashion probably held hands closest in the 1930s, when Elsa Schiaparelli was creating clothes directly influenced by the Surrealist thinking of Salvador Dali. And she burst upon the fashion world with a sweater that had a trompe I'oeil bow. Soma Delaunay was one of great pioneers of Abstract in. She proceeded to mix strong and bright colors into her art and created the geometric and abstract patterns of the clothes and fabrics with her strong color. The influence of Abstract Expressionism was expressed the fabrics of the Modern Fashion. Some fabrics used in Modern Fashion are printed in a dripping pouring and splashing style. For the future, some futher research to investigate the art-fashion connection might involve establishing systematic classifications for silhouette, line, texture, color of the fashion. Moreover, in order to study the influence of fine art on the fashion, a broader approach might wish to analyze the relationship between painting and other plastic arts.

• 한국해양환경ㆍ에너지학회지
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• 제11권4호
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• pp.227-231
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• 2008

본 연구에서는 연안사질 조간대에 표착된 기름의 방제를 위한 화학적 방제법의 적용 가능성을 파악하기 위해서 사질 조간대에서 유처리분산제의 살포에 의한 해수침투량의 변화 및 표착유의 거동을 검토하는 것을 목적으로 하여, 모의 조간대 실험장치를 이용하여 실험을 실시하였다. 파도에너지가 비교적 작은 사질 조간대에서 표착된 원유에 의해서 해수의 침투량이 감소되었으나, 분산제를 살포함으로 인해 해수침투량이 약 30% 증가되는 것을 알 수 있었다. 사질 조간대에 표착한 원유는 토양표층 2 cm부분에서 가장 농도가 높은 경향을 나타내었으며, 유화분산제를 살포하였을 경우 침투된 기름이 작은 입자로 분산되어 토양중으로 분산되었다. 따라서 표착된 원유에 분산제를 살포함으로 인해 저서생물의 생존에 필수적인 용존산소, 영양염, 유기물 등의 공급이 회복되어 저서생물에게 생존에 긍정적인 영향을 미칠 것으로 판단된다. 또한 표착된 기름에 유처리분산제를 살포함으로 인해 표착된 기름이 작은 유적으로 분산되어 비 표면적의 증대로 인한 기름분해 미생물의 분해가 촉진되어 표착유의 처리에 효과적일 것으로 사료된다.

• 패션비즈니스
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• 제3권1호
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• pp.113-124
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• 1999

The purpose of this study is to provide for the basic data useful to designing a scientific and systematic merchandising program for infants' wear brands. For this purpose, designer and MD working for 8 local infants' wear brands were surveyed to analyze the conditions of their designing and merchandising of infants' wears. The results of this study can be summarized as follows; 1. Only 3 brands employed MD for their merchandising departments. The average number of clothing designers employed by the subject brands was 3-5, while that of colorists was 1-2, and that of accessory designers was 2-3. On the other hand, the average number of patternmakers employed was about 1, while that of sewer was 4. 2. Many of the sample infants' wear brands tended to collect and analyze the information for merchandising, while most of them relied less on outside planned data. The information source upon which they relied most was 'local and foreign fashion magazine', followed by 'data surveyed by local and foreign department stores' and 'data surveyed for local fabric markets' in their order. Meanwhile, the main color represented 70-90% of the total colors, while the pastel groups accounted for 30-40% and vivid color groups for 40-50%. On the other hand, knit accounted for about 60% of their materials, while woven and sweater accounted for 30% and 10%, respectively. 3. In overall terms, most of brands felt that their brands were preferred as much as or less than their competitive brands, while consumers felt expensive for infants' wears. Namely, most consumers were dissatisfied with the price levels of infants' wears. On the other hand, consumers were found to favor the pastel color groups a little more, while being aware of each brand's sizes more or less precisely. 4. The medium upon which the infants' wear brands depended most for their advertisement was 'magazine', followed by 'radio' and 'catalogue' in their order. Most of them were analyzing the results of their sale turnover monthly or frequently in order to review their sales performances in comparison with their competitors. Most of brands bothered to program a sale strategy 4 times a year, primarily to dispose the stocks or find a breakthrough for their sales activities.

• 한국의상디자인학회지
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• 제4권2호
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• 자연과학논문집
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• 제8권2호
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• pp.225-236
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• 1996

본 연구는 텍스타일 디자인의 세 가지 분야인, 직조 디자인, 날염 디자인, 그리고 니트 디자인에 대해 살펴보았고, CAD 시스템을 이용하여 이들 텍스타일 디자인을 도식화 및 패션 디자인에 입혀봄으로써 텍스타일 디자인에 어울리는 패션 디자인을 선택할 수 있는 텍스타일 디자인과 패션 디자인을 연결시키는 작업 과정에 대해서 살펴보았다. 그 결과는 다음과 같다. 1. CAD 시스템의 프로그램을 이용하여 직조 디자인, 날염 디자인, 그리고 니트디자인 등을 디자이너가 머릿속에 그리는 이미지를 몇 번이고 쉽고 빠르게 구체화시켜 창작할 수 있었다.2. T셔츠 도식화에 이들 CAD 시스템의 프로그램을 이용하여 창작한 텍스타일 디자인을 입혀보았다.3. 창작한 직조 디자인은 여성 의류에, 날염 디자인은 아동복에 그리고 니트 디자인은 남성 복의 스웨터에 각각 입혀 보았다.이들 작업 과정을 통하여 CAD 시스템이 실무 디자이너들에게 얼마나 효율적인지에 대해 살펴보면 다음과 같다.1. 패션 디자인에 날염, 직조, 그리고 니트 디자인 등이 어울리는지를 모니터 상에서 알아봄으로써 실제 쌤플 제작에 드는 시간과 비용을 절감할 수 있다.2. 모니터 상에서 다양한 other color작업과 소재, 패턴 개발이 가능하고 제품 방향에 대한 신속한 의사결정을 할 수 있으므로 다품종 소량 체제를 갖출 수 있다.3. 제품이나 쌤플 제작 이전에 바이어들의 의사결정을 유도할 수 있으며, 바이어의 의향을 최대로 반영한 디자인을 즉석에서 구현시킬 수 있으므로 짧은 시간 내에 많은 제품의 주문을 받을 수 있다.4. 디자인 정보를 매년마다 체계적으로 관리할 수 있으며, 다시 활용할 수도 있음으로 정보를 얻기 위한 시간과 경비를 절감할 수 있다.5. 디자이너와 하청 업체간의 업무 간소화로 디자이너들이 독창적인 디자인 개발을 하는데 효과적일 뿐 아니라, 외주 용역비, 교통비등의 비용 또한 절감할 수 있다.

• 한국의류산업학회지
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• 제6권1호
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• pp.41-50
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• 2004

This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

• 복식
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• 제50권7호
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• pp.195-218
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• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.