• 한국의류산업학회지
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• 제21권6호
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• pp.697-707
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• 2019

This review paper deals with materials, classification, and a current article investigation on smart textile sensors for wearable vital signs monitoring (WVSM). Smart textile sensors can lose electrical conductivity during vital signs monitoring when applying them to clothing. Because they should have to endure severe conditions (bending, folding, and distortion) when wearing. Imparting electrical conductivity for application is a critical consideration when manufacturing smart textile sensors. Smart textile sensors fabricate by utilizing electro-conductive materials such as metals, allotrope of carbon, and intrinsically conductive polymers (ICPs). It classifies as performance level, fabric structure, intrinsic/extrinsic modification, and sensing mechanism. The classification of smart textile sensors by sensing mechanism includes pressure/force sensors, strain sensors, electrodes, optical sensors, biosensors, and temperature/humidity sensors. In the previous study, pressure/force sensors perform well despite the small capacitance changes of 1-2 pF. Strain sensors work reliably at 1 ㏀/cm or lower. Electrodes require an electrical resistance of less than 10 Ω/cm. Optical sensors using plastic optical fibers (POF) coupled with light sources need light in-coupling efficiency values that are over 40%. Biosensors can quantify by wicking rate and/or colorimetry as the reactivity between the bioreceptor and transducer. Temperature/humidity sensors require actuating triggers that show the flap opening of shape memory polymer or with a color-changing time of thermochromic pigment lower than 17 seconds.

• 복식
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• 제18권
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• pp.247-268
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• 1992

The Clothing expresses people's desire of beauty most directly of all cultural inheritances, and it teach us how the human culture has changed and developed. In this study researched the history of buttonholes which make the clothes more functional and beautiful. Buttons and Buttonholes is one of detailed elements they used as a fastener or as a decoration on clothing. Button have been used since ancient times, in early times long before buttons were used as fasteners they had significant decorative and symbolic value. In ancient times, clothes fastened with pins, brooches, fibular and ties. In medieval Europe, it was not until the 13th century that they used the button in functional use, and then Chong Ryung-Lk was introduced from orient, and they became popular as fasteners on clothing during the 13th century when fitted clothes replaced loose garments. Garments were laced together or fastened with buttons, until buttonholes were invented in the 13th century. But as early as the 14th century it appears that someone discovered that a loop slipped over a button, or button pushed through a slit in the cloth, would make a good clothes fastener. Many buttons made during the modern ages were convex medallions set in metal rims and decorated with partraits of famous men and women. During the modern ages, buttons, with ligh-ographed pictures, covered with celluloid of glass were popular. In the 19th century, the mass production by machine made people use the button easily, and many different material of button easily and many different material of button was made. With the begining of the 20th century. the development of plastics led to various and functional buttons. The type of buttonholes also became various, as bound buttonhole, Tailred buttonhole, Worked buttonhole, Loop buttonhole and so on. The button has many forms which were imitated by nature, or made geometrically and the appearance of the button from behind is classified by what has holes and what has holes and what has a shank, and I also classified the kinds of button by the quality of the material design and use. Like this, with the passing of the time buttons and buttonholes have changed in appearance with the change of clothes, and they have standed for something meaningful as well as fixed the opening and made clothes more beautiful.

• 복식문화연구
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• 제17권1호
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• pp.132-148
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• 2009

The objective of this article is to examine the possibility of 'story-telling' as united concept of causality and subjectivity through sequence combination, and the 'similarity' between object and image in fashion photographs making diversity of meanings. To analyze and investigate the research, as evidential data this paper used the photos of Steven Meisel from 2002 till 2007 Vogue published in Korea, U.S, and Italy, as well as other visual data like graphic collections, catalogs, art-related data and internet data. This research runs both theoretical and positive investigations to suggest the function of story-telling in the Process of opened-communicative roles of fashion photos. Thus this paper investigated Steven Meisel's storytelling in his fashion photos; short moment of event, continuity of time, compound of sequence, and complexity of viewpoint. This paper also studied the aesthetic characteristics of Steven Meisel's fashion photos as categories of overlapped meaning, arbitrariness of interpretation, exclusivity of message, and decoding. The research result suggests that clothing not only includes current age's value but also among social constitutions it includes multilateral characteristics. Ultimately this paper is also making meaning alive by cutting off the chain of 'firm' meanings of fashion photo. That seems like opening the opportunity for correctly understanding fashion's meaning which has the aspects of ambivalence of changing meanings and values by the motivation of context and text.

• International Journal of Costume and Fashion
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• 제7권1호
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• pp.22-31
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• 2007

The systematic study of the future began with curiosity and imagination about the future; a unique trait of human mental effort-and this seems to be based on the idea that the future can be different depending on current choices or effort. In this sense, it would be seemly to encourage more interest and academic study on the progress of future fashion. In this study, we examine recent changes of fashion material; e.g. that which science and technology have more impact and importance in futuristic fashion since the 1990�s. The period analysed is from the1990's to the present and related data from recent fashion collections and fashion books has also been included The current prediction of the future is largely based on what was formed between the 19th Century and the 20th Century which has persisted until now and has been influenced by the view that science will play a bigger role in the future. This is especially reflected in fashion which chiefly represents material culture. New materials used for fashion are strong and permanently durable, in addition to being very light, thin, flexible, hygienic, ecological and comfortable to wear-almost like a second skin. These fashionable new materials roughly function in two different ways according to external and internal characteristics. First, they cause external change. Second, they exemplify or allow new functions. Examples of external change are the use of silver color, achromatic color, metallic material, smooth-to-the-touch shiny material and the use of luminous material. Examples of the extended function of clothing through the use of new materials are the use of conducting thread, the use of special material for blocking & opening and the use of material which changes colors as the surroundings change. These days, the use of new material which changes its appearance is a novelty unique to the fashion world but we also expect to witness the debut of diverse new materials with extended inner functions.

• 한국의류학회지
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• 제36권9호
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• pp.966-978
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• 2012

Fashion exhibitions in museums and galleries is a form of fashion communication media. This thesis examines the messages, objects, and space of fashion exhibitions as fashion communication media as well as analyzes the method of fashion communication. This thesis first provides a theoretical study on fashion exhibition and conducts a case study of the 2012 Nora Noh Retro Exhibition La Vie en Rose (2012/5/23-6/2, Horim GNB Gallery, Seoul), dedicated to the first Korean female fashion designer. The message of the exhibition was the fashion philosophy and the fashion style of the designer as well as the intention of the curator. The objects presented were the dresses kept by the loyal customers of the brand, and the homage items by designers of present generation. The space designs of the exhibition were the layout and total coordination of the opening event. The methods of fashion communication for the fashion exhibition, in the case of the La Vie en Rose exhibition, were communicated (1) from the past to the present, (2) from designers to celebrities and (3) from the designer to the celebrity and the viewers. From the past to the present, the designer's style throughout the 60 years of her fashion career is conveyed to the present generation fashion people, in the form of homage designs and collaboration works. From designers to celebrities, her fashion philosophy was delivered in the form of movie and stage costumes. Some present generation celebrities tried reinterpretations of the garment. From the designer to the celebrity and the viewers of the exhibition, the intention of the curator and the designer were individualized and internalized by the viewers.

• 복식
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• 제62권7호
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• pp.205-219
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• 2012

The purpose of this study is to develop comfortable patient gown for spinal surgery patients. The results of the survey confirmed inconveniences and problems with the current gown, and a new gown style was recommended. The recommended changes addressed design, pattern, and materials. The final experimental design for the top of the new patient gown is a wrap style that moves the center opening of the gown to the side and enables patients to control the length of the sleeves by attaching two snaps. The cutting line is aligned with the back brace location, and the issue of repeated bunching of the gown material by the brace was solved by substituting 100% knitted structure fiber. The sleeve length can be adjusted with snaps on the sleeve cap and hem. When lifting up the gown for treatment on specific areas of the body, doctors open the edge of the right side of the gown in order to lift up the top. The bottom of the new patient gown was made from 100% cotton knitted structure fiber, and it enables patients to control the length of pants by attaching two snaps on the side. The results of an on-site dressing suitability evaluation and a flexibility evaluation with respect to dressing/undressing indicated that the new patient gown was much better received than the existing gowns (A and B). Our hypothesis regarding new patient gowns was supported in both the fit and design categories.

• The International Journal of Costume Culture
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• 제6권2호
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• pp.69-82
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• 2003

The Scythians had a veritable passion for adornment, delighting in decorating themselves no less than their horses and belongings. Their love of jewellery was expressed at every turn. The most magnificent pieces naturally come from the royal tombs. In the area of the neck and chest the Scythian had a massive gold Torques, a symbol of power, made of gold, turquoise, cornelian coral and even amber. The entire surface of the torque, like that of many of the other artefacts, is decorated with depictions of animals. Scythian Torques are worn with the decorative terminals to the front. It was put a Torque on, grasped both terminals and placed the opening at the back of the neck. It is possible the Torque signified its wearer's religious leadership responsibilities. Scythian Torques were divided into several types according to the shape, Torque with Terminal style, Spiral style, Layers style, Crown style, Crescent-shaped pectoral style.

• 한국생활과학회지
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• 제15권3호
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• pp.425-437
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• 2006

The focus of this study is on the diffusion and aspects of Yoenji make-up in China. The diffusion of Yoenji make-up into China was achieved by Zhuang-Kun's departure for the West of China, after Emperor Moo of Han Dynasty defeated the Huns (B.C. 121). The Yoenji make-up is basically used as a unique sign and from the result of excessive development from the facial beauty point in accordance with luxurious Court culture and opening door of culture. It can diversely express kinds, names, ways, types and patterns, places and bodily parts, the colors of materials for use, and time zones of a make-up.

• 복식
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• 제64권3호
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• pp.77-92
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• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• 복식문화연구
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• 제23권5호
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• pp.778-792
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• 2015

The purpose of this study is to identify women (aged from 49~59), who have recently emerged as consumers, and their clothing preferences, and it suggests how to make jackets provide better fit and wearability. The results of the study are as follows. In drafting a pattern for size 66 tailored collar jacket with an X-silhouette, it was made with front waist length measuring B/4+1.5 cm, a back length of B/4+1.3 cm, an armhole depth of B/4, a hip ease of H/4+1.2 cm and a sleeve opening of 34.5 cm, to allow for easy movement. In drafting a size 66 high neck collar jacket, it was made with a front and back waist length measuring B/4+1.5 cm, an armhole depth of B/4, a hip ease of H/4+1.2 cm and a sleeve opening of 35 cm. In drafting a size 66 sports collar jacket with an A-silhouette, it was made with front and back waist lengths measuring B/4+1.5 cm, an armhole depth of B/4, and a side dart of 1.3 cm, to provide raglan sleeves. The last experimental jacket pattern improved the appearance and moving fitness evaluation especially for shoulder and arm movement. Based on analysis, jackets were made and subjected to an appearance evaluation using multi-modules to test the level of wearing satisfaction for each fabric and silhouette. the results of the multi-module wearing tests indicate that the preferred silhouettes caused less stressful situations in terms of both psychological and physiological signals.