• 한국의상디자인학회지
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• 제4권1호
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• pp.61-72
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• 2002

This paper is the second part of a series of the research about the Teddy boy style which is to examine various fashion changes in subcultural styles in 1900s. The main concern of this research is to investigate the creation and meaning of the Teddy boy style, how it interacted with the elements of class and generation and how the materials needed by the group constructed and appropriated into the visible systematic cultural form of correspondence. The Teddy Boys are the first recognized members of the British youth culture, which is known as the new Edwardian because of their dress. They had created the concept of the "teenagers," which forms the basis of the sense of a "generation" in the 20th century. The Teds set the style that would be used and modified in the following generations. They adopted the Edwardian style of the upper class, and changed it into their own style by modifying it and adding to it some other elements. The Teddy boys style is a special version of the sartorial appropriation encountered in the sphere of the fashion history. It actually began immediately after the war by the upper class youth far from the working class neighborhood. In the late 1953, the elitist aura surrounding the Edwardian suit was suddenly shattered. Within just a few months, the Edwardian suit became a source of social anxiety and the focus of a symbolic battle. Although the Edwardian look had initially went back to the upper class root, it became a symbol of rootlessness. In appropriation of this image, The Teddy boys were also rejecting the sartorial conformism of the English working class with its modest tradition. In this respect, the Teds effected the ascent or fall of the working class in the area of fashion. The Teds dress was not a merely borrowed fashion, but was a bastard fashion in the form of American trends, the Zoot suit. At this time members of the working class possessed only work dress for the week and waist suits for the Sunday outings. Teds broke this pattern, and developed the working class dandyism of wearing clothes simply to show off. The results were that they succeeded in opening the teen market, and popularizing a working class style for the first time in British history. The Teds became the first British street style with ties music, and remain as an symbol of the rising of a new age of values and styles.f values and styles.

• Asia Marketing Journal
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• 제14권3호
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• pp.69-102
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• 2012

Owing to increased number of luxury brand users, both genuine and counterfeit luxury product consumption continues to increase every year. Luxury brand is defined as use or display of a particular branded products which brings the ownership prestige apart from its functional utility(Grossmand and Shapiro 1988). Some luxury brands have imitations sold in marketplace due to their popularity. These imitations or counterfeits have been jumping on the bandwagon of the upturn in sales of their originals. The purpose of our study is to understand consumer's underlying motives to consume luxury brands, genuine and or counterfeits. To do this, we propose functional theories of attitudes, decision-making styles, and life attitudes to form the determining causes for different consumption choices of luxury brands: genuine brands, counterfeit brands, both genuine and counterfeit brands, and no consumption on luxury brands types. In proposed causal pathways, we examine moderated effects of socio-psychological factors to further investigate if consumer profiles would exert influences in causal relationships. From the existing theories of functional attitudes: value-expressive and social-adjustive attitudes, we developed and introduced a new measure of rationality-consumptive attitude. From the existing eight decision-making characteristics of consumer styles inventory(CSI), three measures of high-quality, hedonic-shopping, and price-shopping styles were primarily applied in the study along with newly introduced measure of 'high-price' being added, which makes four total. Seven life attitude measures of life purpose, life control, will to meaning, goal seeking, future mean to fulfill, life satisfaction, and religiosity were applied. Finally, such socio-psychological measures as age, gender, marital status, income, and age-gap between couples were assumed to function as moderators. With 430 valid study samples, ages from 20s to 50s, with more females(316) than males(114), with average personal possessions of 5 genuine and 9 counterfeit luxury brands, we conducted questionnaire survey. Results indicated that social-adjustive function is totally disappeared in the relationship due to current social trend of widespread consumptions on both genuine and counterfeit brands which in turn, make consumers feel less special on wearing or carrying them unlike in the past. Self-expressive function and rationality-consumptive functions act as strong catalysts for genuine brand consumption and counterfeit brand consumption, respectively. On consumers' decision-making styles, high-price sublation is the most powerful indicator anticipating counterfeit consumption, even more powerful than personal incomes. In life attitude, the overall model fit was not validated, and only life control and life satisfaction are proven to be significant on both genuine and counterfeit product consumptions. Employment of socio-psychological factors in the model improved understanding of users further. Young consumers tend to go for genuine products over counterfeits. Consumers in different income groups; low, medium and high, all significantly consume genuine products for reasons of different decision-making styles. The results indicated that consumers whose personal disposition is predisposed to consume products in the form of reflection of his or her personality, go only for genuine brands for quality reason, while consumers who rationally consume products for its function or usability, go only for counterfeits for high-price sublation reason. Meanwhile, both product users support for high-price orientation who are not well off.

• 한국방사선학회논문지
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• 제11권7호
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• pp.547-553
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• 2017

현재 의료분야에서는 방사선 차폐체로서 납(Pb)이 널리 쓰이고 있다. 하지만 납은 무게가 매우 무거워 납치마 등의 방호복은 장시간 착용이 어려우며, 인체에 치명적인 납 중독의 위험이 상시 가지고 있다는 문제점을 가지고 있다. 이러한 문제점을 해결하고자 납을 대체 할 수 있는 물질에 대한 많은 연구가 진행되고 있다. 현재 납의 대체물질로써 대표적인 바륨(Ba)과 요오드(I) 등은 우수한 차폐능을 가지고 있지만, 30keV 근처의 에너지 영역에서 특성 X선을 방출하는 특성을 가지고 있다. 환자나 방사선 종사자의 경우 차폐체를 인체에 접촉하고 있는 경우가 많으므로 차폐체에서 발생되는 특성 X선이 인체에 직접 조사되어 방사선 피폭을 증가시킬 위험이 매우 높다. 본 연구에서는 바륨(Ba)과 요오드(I)등에서 발생되는 특성 X선을 제거하기에 적절한 이중구조 차폐체를 방사선 수송코드 중 하나인 FLUKA 수송코드를 개발하여 선행연구로서 진행된 MCNPX 시뮬레이션과 비교 분석하여 이중구조 차폐체의 차폐율에 대한 신뢰성을 검증하고자 하였다. MCNPX와 FLUKA를 이용하여 황산바륨($BaSO_4$)과 산화비스무스($Bi_2O_3$)로 이루어진 다양한 두께조합의 이중구조 차폐체를 설계하였으며, IEC61331-1에 제시된 모식도를 기하학적으로 동일하게 시뮬레이션 상에 구현하였다. 또한, 120 kVp의 연속 X선 스펙트럼에 대한 차폐체의 투과스펙트럼과 흡수선량을 납과 비교 평가하였다. 평가결과, $0.3mm-BaSO_4/0.3mm-Bi_2O_3$ 와 $0.1mm-BaSO_4/0.5mm-Bi_2O_3$ 구조에서는 33 keV와 37 keV의 특성 X선을 모두 흡수하였으며, 90 keV 이상의 고에너지 X선에 대해서도 납과 거의 유사한 차폐효율을 보였다. 또한, FLUKA의 수송코드는 33 keV 이하에서는 cut-off 가 발생하여 저에너지 X선 광자에 대한 전산모사에 제약이 있지만, 40 keV 이상의 고에너지 영역에서 MCNPX와의 상대오차가 6 % 이내로 신뢰성이 매우 우수하다는 것을 확인할 수 있었다.

• 복식
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• 제4권
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.

• 복식
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• 제15권
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• pp.177-194
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• 1990

Koh(袴) was a type of dress worn on the lower part of the body which was commonly used in the Northeast Asia. It was originally used by the Northern race for the need of nomadism or hunting. The origin of the Koh which appeared in the area would be found from the trousers of the Huns who influenced in the Northeast Asia, and became in the part of the Scythian culture. The Scythians are the nomadizing race inhabited in the Northern Caucasas on the wast of the Black Sea and influenced on the inland Eurasian steppe as the first typical horse-riding race. The objectives of Koh which had been worn in the Scythian, Mongolia, Korea as well as Japan as a part of Dongho dress and ornaments and to contemplate the transmission process by cultural exchange among different races for the period from 4th century to 7th century. 1. The Origination of the Koh The Koh was originated by the environmental factor to protect the cold in the North but also from the heat in the South, and was changed and developed as gradually satisfying to the needs of the times. In the Northeast Asia the Koh was in the class of the Northern Chinese garment, and was used widely by the horse riding Scythians who moved widely from the Eurasian inland to Japan. The oldest original which could reflect the type of the Northern clothes was a pair of trousers discovered in the Huns remains of Noin Ula. This showed the exact form of hunting clothes and had a similar form with the Korean female tro-users. Since the same form of trousers drawn on the wall painting of which was excavated 4-5th century ancient Koguryo(高句麗) tomb was the same form the trousers of Noin Ula seemed to be the original form of Koh in the Northeast Asia. 2. The Chinese Trousers It was the time of the King Mooryung(武靈王) in the Cho(趙) Dynasty B.C. 3th century that the trousers used regularly in China. However, the Koh had been used as undergarment which functioned for the protection of the cold not the horseriding garment. The trousers seemed to be not very obviously shown off since the Poh (袍) was long, but mainly used by the people from lower class. As people learned the adapted the trousers. It was essential for the times of war and quarrel. The king himself started wearing the Koh. The Chinese trousers were influenced by the Huns, the Northern clothes of the Scythian culture, and similar to the Korean clothes. 3. The Korean Trousers Korean was a race bared from the Eastern foreign group. It was obvious that the clothes was Baji-Jeogori(바지 저고리), the garment of the Northern people. This had the same form of the Scythian dress and ornaments which was excavated from the Mongolian Noin Ula. The Scythian dress and ornaments were influenced from the Ancient West Asia Empire and transmitted to the Northeast Koguryu by the horseriding Scythian. The trousers were kept in the traditional style by the common people in Korea were transmitted to Japan which were for behind in cultural aspect, as well as got used to the Chinese as the efficient clothes though active cultural exchange. 4. The Japanese Trousers The ancient Japanese clothes were influenced by the Southern factor but not the form of the Koh. As the Korean people group was moving towards Japan and conquer the Japanese in the 4-5th century, however, North Altaic culture was formed and at the same time the clothes were also developed. The most influenced clothes at this time were those of Baekge(百濟) and the trousers form called Euigon became the main form. Because of the climatic regional factor, it was tied not at the ankle but under the knee. From the view the ancient Japanese clothes disappeard about that time, it could be due to the conquest of the culturally superior race but not the transmission of the culture. In the latest 7th century both the Chinese and Japanese dress forms were present, but the Dongho(東胡) dress and its ornament from Korea was still the basic of the Japanese dress form.

• 한국안광학회지
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• 제17권3호
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• pp.305-309
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• 2012

목적:본 연구는 스마트폰 사용에서 근거리 주시거리에 따라 시력과 굴절이상에 대한 변화를 알아보고, 스마트폰 사용 후 시력이나 굴절이상이 회복되는데 소요되는 시간을 알아보고자 한다. 방법: 안질환이 없고 교정시력이 0.8이상이고, 최대조절력과 조절용이성이 정상인 20명($20.6{\pm}0.9$세)이 본 연구에 참여 하였다. 피 실험자는 Group 1(15 cm 주시거리)인 10명과 Group 2(40 cm 주시거리) 10명으로 나누어서 원용 교정안경을 장용하고 30분 동안 동영상을 시청하도록 하였다. 그리고 동영상 시청전과 후의 원거리 교정시력과 타각적 구면 굴절력 값을 비교하였다. 타각적 측정은 auto-chart project(CP-1000, Dongyang, Korea), phoropter(VT-20, Dongyang, Korea), auto refractor-keratometer (MRK-3100, Huvitz, Korea)를 이용하였다. 그런 다음, 원용 교정안경을 착용하고 원방시를 하게 한 후 각각 5분 후, 10분 후, 그리고 15분 후에 원거리 타각적 구면 굴절력 값을 측정하였다. 결과: 스마트폰을 15 cm 거리에서 30분 동안 사용한 Group 1(15 cm 주시거리)은 스마트폰 사용 전과 사용 후에서 통계적으로 유의한 원거리 교정시력 저하(p=0.030)와 근시의 증가(p=0.001)가 관찰 되었다. 이러한 근시의 증가는 스마트폰 사용 후 5분 후 이후 검사에는 더 이상 통계적으로 유의 하지 않았다($p{\geq}0.464$, paired-samples t test). 한편 30분 동안 스마트폰을 40 cm 거리에서 사용한 Group 2(40 cm 주시거리)은 스마트폰 사용 전과 사용 후에서 시력 변화는 통계적으로 유의하지 않았고 (p=0.163), 굴절력의 변화도 통계적으로 유의하지 않았다(p=0.077, paired-samples t test). 결론: 스마트폰을 사용할 때 굴절이상과 원거리 교정시력에 영향을 미치지 않으려면 사용 거리를 40 cm를 유지 할 것을 권장 하며 만약 스마트폰을 권장 사용 거리 40 cm 보다 가까이에서 사용 할 경우 굴절이상과 원거리 교정시력에 영향을 주지 않기 위해 스마트폰을 최소한 30분사용 후 5분간 휴식을 가질 것을 권장한다.

• 공연문화연구
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• 제41호
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• pp.257-284
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• 2020

고성오광대는 1950년대 말부터 학술조사가 시작되어 1964년 국가무형문화재로 지정되었다. 지정 당시까지는 종이탈을 사용하였으나 1965년에는 이미 나무탈로 바뀌었으며 이후 탈의 변화 양상이 매우 크다. 1960년에는 9개의 탈을 사용하였는데 문둥이, 초란이, 말뚝이, 청보양반, 젓양반, 할미, 제밀주 탈을 기본으로 하였으며 여기에 소무는 제밀주와, 청보양반과 비비양반은 영감과 탈을 겸용하기도 하였다. 황봉사와 상주는 탈을 쓰지 않고 맨얼굴로 등장했다. 1965년부터 고성오광대 연희용 탈은 전체가 나무탈로 바뀌었다. 상주, 마당쇠, 상두꾼을 제외한 전 배역이 탈을 쓰고 있는데 비비, 홍백양반, 봉사 탈은 1964년까지는 등장한 적이 없는 탈이다. 초라니는 종가도령으로 바뀌었고 청보양반은 원양반으로 대체되었다. 1969년을 기점으로 연희용 탈은 종류가 현재와 같아지는 안정기에 들어선다. 비비양반과 소무를 제외한 모든 등장인물들이 개별탈을 사용하여 총18점의 탈을 사용한다. 양반들은 적제양반까지 확실하게 분화되어 총 7명의 양반이 등장한다. 이렇게 탈의 종류와 재질 및 표현법에 변화가 큰 것은 1세대 탈 제작자가 사망하면서 탈 제작의 전승이 끊어진 이유도 있겠으나 지정 이후 연희자들이 맞닥뜨려야 했던 연희환경의 극심한 변화에도 그 원인이 있다. 연희자들의 자족적인 놀이였기 때문에 세부 사항에서는 엄격한 규칙이 적용되지 않는 유동적인 놀이였으나 민속예술경연대회에 참가하면서 점차 공연을 위한 준비로 바뀌었다. 춤이나 의상, 소품들도 점차 화려해졌고 시각적인 효과와 짜임새 있는 연출을 시도하면서 연희 전반의 변화와 함께 탈의 변화를 가져왔고 이를 보존회 내부에서도 수용하게 되었다.

• 한국과학예술포럼
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• 제25권
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• pp.103-118
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• 2016

ICT의 비약적인 발전으로 기업 비즈니스 모델이 빠르게 변화했으며 더불어 급진적인 IT기술의 성장으로 순차적 혹은 점진적인 생존이 어렵게 되었다. IT서비스와 같이 인터넷을 기반으로 둔 새로운 사업들은 기존에 존재하지 않는 융·복합적인 새로운 비즈니스 모델을 찾으며 더욱 경쟁력 있는 비즈니스 모델을 만들어 내고자 고민하고 있지만, 과거에 성공했던 비즈니스 모델은 그 경제적인 효율성에 소멸되고 있다. 그러나 인터넷을 통한 플랫폼의 경우 플랫폼의 가치가 급격히 높아지는 임계점 도달이 기존에 비해 빠른 속도로 일어나게 되었기 때문에 모든 비즈니스에 있어서 비즈니스의 급격한 팽창을 위한 플랫폼화가 매우 중요한 조건이 되었다. 본 연구에서는 IT서비스 기획에 있어서 플랫폼 비즈니스 모델 수립의 필요성을 분석하고, 플랫폼 비즈니스 모델 사례들을 분석함으로써 플랫폼 비즈니스 모델의 특징을 도출하였다. 연구결과, 도출된 특징들은 첫째, 충분한 구매자와 판매자를 확보해야하고 둘째, 고객들에게는 해당 플랫폼만의 차별적인 가치가 창출되어 제공되어야 하며 셋째, 플랫폼 주도 기업과 참여자, 또는 참여자 간 공동의 이익이 존재해야 한다. 그리고 넷째로, 참여자의 기반 확대와 업그레이드, 인접 분야 확장 등으로 지속적인 확장성을 가지고 있어야 하며, 진화가 지속되어야 한다는 것이다. 도출된 특징들은 플랫폼 비즈니스 모델 수립과 서비스기획의 도식화에 많은 영향력을 미칠 것을 기대하며, 본 연구를 시작으로 연구에 언급되지 않은 플랫폼 비즈니스 수익모델의 이론이 정립되어 플랫폼 기반 IT서비스 기획을 하는 기획자들이 기획 초안 다지기에 있어서 보다 더욱 시간을 줄이고 큰 그림을 그려갈 수 있는 길이 될 수 있길 기대해본다.