• 복식
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• 제60권9호
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• pp.162-175
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• 2010

An important change started in knitwear fashion in the 1980s. Advanced designers in Japan began to provide a new interpretation on knitwear, and seamless knitwear based on computerized machinery appeared. Knitwear fashion showed differences starting the 1980s due to this change. In this regard, the study aimed to analyze knitwear fashion after the 1980s where the contemporary knitwear experienced changes to define characteristics of modern knitwear fashion and examine its inherent formative nature. Designs for 30 years from 1980s up to date have been analyzed by 10 years in order to identify the characteristics of knitwear fashion over time. In particular, formative characteristics of modern knitwear fashion have been analyzed in more depth with a focus on the period from 2001 through 2010 by narrowing the whole period. Insufficient domestic literatures and visual materials led the study to mostly use foreign books and internet sites. Insights of 7 professionals who have engaged themselves in knitwear industry over 10 years have been incorporated into this study, which will enhance the reliability of the formative analysis. As a result, the data have been organized into three tools of analysis, including exposed bodies, transformed bodies and natural bodies from the perspectives of expression and silhouette of body, and the features of flexibility, industrial artistry, innovation and sensuality have been highlighted in terms of formativeness. In this regard, it has been confirmed that the formative nature found in the knitwear fashion exists in the scope of the formative nature in the embryonic period of the knitwear fashion. It means that the formative nature of knitwear fashion contains perpetuity that transcends an age.

• 복식
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• 제60권1호
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• pp.101-116
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• 2010

In this study, the subjects are the expression methods and compositions of peony patterns in Chinese textiles. This study represents the peony patterns which are from Tang Dynasty to the Qing Dynasty, the research subjects are the peony patterns in fabric, except the peony patterns which are expressed by gold foil, embroidery and kesi. The objects of this study are 72 pieces of peony patterns. We sketched the configuration details of peony patterns through the Illustrator program. Analyze and classify the configuration accurately. Based on the 72 pieces of peony patterns, expression methods and compositions of the peony pattern are as following, firstly, we classified peony patterns into three categories, based on expression methods, as realistic shape, pattern shape and shape. Among these 72 fabric relics, there most of realistic shape 42 pieces(58.3%), pattern shape 25 pieces(34.7%), and shape 5 pieces(7.0%). Secondly, in the realistic shape peony, the most of pattern has petal accumulate as grape- shaped. This type is found in almost every Dynasty and was used regularly in the eras of Song and Ming Dynasty. In the era of Ming Dynasty, by using petals like the curly mushroom, Yeongji(靈芝), the pattern of symbolizing longevity was habitually used. The U-shaped flower pattern (type E) and the pattern of emphasizing the veins of petals are found only in the remains of the era of Qing Dynasty. Thirdly, in the pattern shaped peony, the most of pattern has some petals which are separated(type C). Fourthly, we classified peony patterns into four categories, based on compositions, as individual branch form, floral branch form, cluster branch form and floral nest form. Among these 72 fabric relics, there most of individual branch form 33 pieces(45.8%), floral branch form 18 pieces(25.0%), cluster branch form 13 pieces(18.1%), floral nest form 8 pieces(11.1%).

• 자연과학논문집
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• 제7권
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• pp.121-131
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• 1995

오리엔탈리즘은 20세기 초에 스타일의 변화에서 시작되었다. 현대성은 역사적 개념이전의 거대한 변화의 흐름을 통해 이해될 수 있다. 서양에 있어 스타일의 변화는 동양적, 이국적 취미를 가진 예술가에 의해 시작되었다. 이것은 외형적으로 일본, 모로코, 북아프리카에 대한 외형의 재현이었다. 20세기 양식의 흐름은 표현주의, 큐비즘, 쉬르 뤼얼리즘, 팝아트로 이어진다. 그러나 오리엔탈리즘은 후에 원시주의로 보여지는 에그조티즘 이후 20세기 변화의 원천이 되었다. 현대복식에서는 신체의식을 변화시킨 뽈 뿌와레의 작품과 관련지어 본다. 그는 이브 생 로랑, 샤넬, 발렌시아가와 같은 이미지 창조자였다. 당시 러시아 발레, 야수파, 생생한 색상은 일련의 현대복식의 배경이 되었다. 부드럽고 유연한 신체, 비치는 스타킹, 미나레 튜닉, 터번 등은 오리엔탈 이미지의 시작이었다. 현대복식과 현대 조형은 역사적 개념이전에 미적 기초의 변화에서 비롯된 것이다.

• 복식문화연구
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• 제12권1호
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• pp.59-72
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• 2004

The objectives of this study were to investigate the perceptions of Korean female university students for clothing pattern tendency and structural element of clothing pattern image dimension and to find how individual personality type influence the preferred clothing pattern characteristics. For this study, a questionnaire was designed and sent to 600 female university students of Daejeon, Seoul and metropolitan area. The tool used in this study was MBTI(The Myers-Briggs Type Indicator) Form G Korean version and for the analysis of data SPSS 10.0 package were used. 10 representative patterns for this study were floral, dot, stripe, check, animal, abstract & artistic, geometric, vegetable & leaf, paisely, patchwork pattern. The data were analyzed by factor analysis, arithmetic mean, One-Way ANOVA, x²-test. The major findings were as follows: Clothing pattern image dimension perceived by Korean female university students for 10 representative patterns were basic form, deluxe, specialty, and cultural dimension. Among them, basic form and deluxe dimension were major dimensions. In basic form dimension, dot pattern score was high indicating female students perceive it as light, comfortable, clean, cool and simple pattern image. In deluxe dimension, floral pattern scored high and in specialty dimension, abstract and artistic pattern scored high among other pattern image. In cultural dimension, geometric pattern and check pattern scored high. Based on other detailed analysis results, It is concluded that the personality type greatly influence clothing pattern evaluation. For example, in case of color combination of patchwork pattern, there was a difference in color preference depend on a personality type such as sensing(S) or intuition(N). Therefore, sensing personality type preferred adjacent color combination than contrast color combination. Detailed marketing strategy is necessary in planning textile design of merchandise plan.

• 복식문화연구
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• 제4권2호
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• pp.157-171
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• 1996

The purpose of this study was to find out the effect of fashion information source in the stage of purchase decision-making and difference by stage of purchase decision-making and difference by stage of the effect extend, and to analyze the difference by fashion information source. For this study, the data were collected through the questionnaire distributed to 337 female students from five universities. The results are as follows: 1) There was significant difference among the effect to fashion information source according to the purchase decision-making stage. At the adoption stage, fashion information source have the most effect on clothing purchase. 2) The effect of Impersonal Source in the purchase decision-making stage was gradually decreased fro the initial (awareness, interest) sage to the late stage. 3) The effect of Personal Source in the purchase decision-making stage was gradually increased from the initial (awareness, interest) stage to the late stage. 4) Addition stage was highly influenced by friend and family that was Personal Independent Source than other fashion information source. However the final selection on clothing purchase was not influenced by friend and family. 5. There was significant difference among the effect of fashion information source according to the grade. Low garde students were highly influenced by Personal Source on clothing purchase, but high grade students were highly influenced by Impersonal Sources on clothing purchase. 6) There was significant difference among the effect of fashion information source according to the major. The students a majored clothing & textile-design were highly influenced by Impersional Source. These results suggest that fashion information source was significantly different according to purchase decision-making stage and was influenced by grade and major of subjects.

• 패션비즈니스
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• 제11권3호
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• pp.79-86
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• 2007

The purpose of this study is to understand the dyeing properties and color analysis of fabrics knitted with ramie, cotton, wool and acrylic by using scoria and to analyze whether the knitted fabrics can be used for industrialization by measuring color fastness after and before sliver-nano process. The following is the conclusions. Firstly, when ramie fabric regarding cotton, wool and acrylic was dyed at the temperature of $50^{\circ}C$ for fifteen minutes by using 10, 25, 50, 100g/ $\ell$ of scoria, dyeing absorption gradually increased up to 50g/ $\ell$, and over the point of 50g/ $\ell$ it showed slow increase. Secondly, regarding saturation, among ramie fabric, wool, cotton and acrylic, wool appears as the lowest brightness. Therefore, it can be dyed with bright color and the highest value. In terms of the value of chromaticity, wool also emerges as the lowest brightness. On the contrary, acrylic showed the lightest red as it had the value of the smallest b. Cotton takes the lightest yellow as the b value of the cotton showed the smallest. Thus, scoria dyestuff is a material that showed strong red and yellow on knitted fabric mixed with wool that is the biggest a. b value. Thirdly, in terms of dyeing fastness, sunlight fastness did not show noticeable differences before and after silver-nano processes, but in terms of washing and friction fastness, the material processed by silver-nano indicated that all knitted fabrics are over 4-5 point. which means silver-nano process can be effective for the industrial applications. As mentioned above, as a result of dyeing knitted fabrics with scoria, this study found a possibility of dyeing in the fabric materials, and if there is deeper dyeing experiments, fastness experiments and speculations, it might be possible to be a big issue just like loess and charcoal.

• 보존과학회지
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• 제34권1호
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• pp.51-57
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• 2018

본고는 김해 대성동 88호분에서 출토된 칠기편을 분석하고 조사한 내용이다. 잔편으로 수습된 칠기편을 광학현미경으로 관찰하고, SEM-EDS와 FT-IR 분석을 통하여 제작기법과 칠기의 구조를 파악하였다. 조사결과 목제바탕에 직물을 바르고 바탕칠을 한 목심저피칠기(木心苧被漆器)로 나타났다. SEM-EDS 분석 결과 바탕칠에는 골분이 혼합된 것이 확인되었다. 칠기 제작에 골분을 사용하는 기법은 중국 한대 칠기의 특징으로 알려져 있으며, 낙랑칠기와 삼국, 통일신라시대 칠기에서도 확인된다. 칠기제작에 사용된 목재의 수종은 서안 동한묘(西安 東漢墓)에서 출토된 칼집의 수종 특징과 상통하며, 칠기 내면에 견직물이 부착된 특징적인 구조를 보이고 있다. 88호분 출토 칠기편은 한반도 남부지역에서 확인된 골분 혼합 칠기 중 가장 선행하는 자료일 뿐만 아니라 당시 금관가야의 대외교류 관계를 알려주는 자료로도 주목된다.

• 한국의류학회지
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• 제15권4호
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• pp.341-349
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• 1991

This study was done to provide basic data for clothing design and thus to contribute to the academic development of the clothing and textile area. The focus of this study was to charac­terize the somatotype based on each individual's lateral view. For this purpose, firstly, categorization of the subjects based on their lateral view and definition of each category, secondly, characterization of each somatotype, and thirdly, sugges­tion of the deterministic criteria of each category were complished. The subjects in this study were female college students of 18 to 26 year-old whose somatotypes were comparatively invariable after cessation of physical growth. The metrical items characterizing upper body lateral view were chosen. Data were collected through Anthropometry and Photometry and analyzed by Factor analysis. The results were as follows; 1. Each subject's side view contour was classified as straight type, lean-back type, bend­forward type, and swayback according to its position to the relative plumb line. Straight type was defined as the type in which the plumb line passes through the lobe of the ear, the shoulder joint, and the mid abdominal region laterally. Lean-back type positioned the plumb line more posteriorly than straight type. Bend-forward type positioned the plumb line more anteriorly than straight type. Swayback positioned the plumb line at about the same line as straight type. And curvature of side view contur was more prominent in this type than in straight type. 2. Seven factors were figured out. The first factor was representing upperbody volume, and the second factor was representing size, the third factor was horizontal distance from lateral view representing size view contour. The fourth factor was front body length, the fifth factor was back body length. The sixth factor was shoulder length and shoulder width representing shoulder shape. The seventh factor was the bust shape.

• 한국의류학회지
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• 제29권2호
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• pp.242-253
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• 2005

The objective of this research is to identify and examine the punk hair styles which, with their various, rather vague names, help to describe the twentieth century subordinate culture or subculture and also their place today as one of the mainstream male hair trends. The scope of this research will stretch to include also: North-east and around that areas native Americans'hair styles which, are thought to have strong links with the Punk hair tend. The focus of this research will remain with the so-called Mohican or Mohawk hair styles(collectively referred to as Punk styles), which have originated mainly from native American warrions residing in North-east and South-east region of the United States. This study clarified a few questions in doubt concerning the origin of cockcomb hairstyle. Firstly, the cockcomb hairstyle known to represent punk hairstyle was influenced the American Indian's Roach style. Secondly, since Roach style is referred as Mohawk tribe's hairstyle in some refernces, the view of seeing cockcomb hairstyle as a Mohawk style is considered more persuasive. Thirdly, although Roach style was a usual hairstyle through North-east and South-east region of the United States, the people in South-east region did Roach hair style because of the North-east's influences. Lastly alike the Punkers had several kinds of cockcomb hairstyle. American Indians'Roach style also differed in shape concerning of their regions and their kindred. In addition, the reason why the most common term to refer punk hairstyle became Mohican is considered as that the film 'Last Mohican' has influenced on it. That film can appeal their history and play a good role of mediator to let the public know better about themselves, 'Mohican' naturally became the name of the specific hair style.

• 한국의류학회지
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• 제24권2호
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• pp.266-276
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• 2000

This study was designed to examine the consumers' fashion store choice process based on the wedding dress stores, and also to find the consumers' shopping orientation and store attributes affects to store choice process. This study adapted a survey method. Each 48 wedding dress stores in Ahyun-dong and Kangnam were selected, and 325 women who got married within 2 years ago were recruited, convenient sampled as the subjects and the survey methodology was used for data collection. And convenience sampling method was used for data collection. The results of this study can be summarized as follows; First, wedding dress buyers wear classified into four subdivisions by shopping orientation; reputation-oriented group, utility-oriented group, fashion-oriented group, and time-oriented group. Second, there was significant differences in store choice type between shopping orientation group. Third, in case of important ranks on store attributes, evaluation of store attributes for each step-consideration step, visit step and choice step-was revealed to be coherent. Fourth, there was differences in important ranks among each groups. The most important attribute for all the groups was design, but reputation-oriented group raid importance to reputation of store, utility-oriented group and time-oriented group to economy, and fashion-oriented group to variety than other groups. Firth, there was no significant difference in attitude for wedding dress stores by shopping orientation groups and demographic characteristics.