• 복식
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• 제59권3호
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• pp.157-165
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• 2009

This study intends to discuss the efficient stage costume design that uses costume-rentals and production method as a realistic alternative for production of stage costume of low budget performance. Directly participating in the costume design and production of the performance , this researcher applied the methodology of corroborative study on the basis of production process and results by referring to the papers and literature published by academic society for the theory necessary for study. Centering around the western costume in the stage costumes of , the scope of study was the costume of Paris, France prevalent at the end of the 19th century which is epochal background of performance. In spite of its merit of reducing production charge and production in the low budget performance, costume-rentals is subject to the lack of considering unitγ with other visual factors and limit in reflecting the creativity of costume designer. The following actions shall be taken to solve such problem. First, it is essential to set production direction and plan that meets budget and work concept. Second, it is required to highlight the characteristic factor of the age which is the background of work so as to grant the sense of age and to produce the visual unity of costume by supplementing the costume composition. Third, it is necessary to make large effect with low lost by using costume articles that can express the characteristics of the age. Fourth, it is required to efficiently reflect the transformation of design by minimizing the damage of costume through research on the sewing method and materials as well as creative idea. In this way, the efficient stage costume could be realized in the performance with low budget by approaching costume-rentals in the viewpoint of costume design, transforming it in accordance with work concept and adding the visual factors.

• 한국의류학회지
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• 제30권12호
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• pp.1683-1689
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• 2006

리오셀직물은 면직물보다 강하고 습윤시 치수안정성이 높으며 우수한 드레이프성, 탁월한 광택, 소프트한 촉감 등 우수한 성능을 가지고 있어 최근 각광받고 있는 신소재 중 하나이다. 그러나 리오셀직물에 관한 연구는 섬유의 성질, 가공염색방법에 관한 것이 대부분으로, 적합한 봉제방법, 심지선정 등에 관한 연구는 찾아보기 어렵다. 이에 본 연구에서는 겉감으로 시판 리오셀직물 중 숙녀복 수트용으로 사용되고 있는 100% 텐셀직물과 65/35% 텐셀/면 혼방직물 각각에 대해 20수와 10수 모두 4종류를 선정하고 접착 심지로는 중량과 조직을 달리하는 시판 직물심지 5종류와 부직포심지 1종류를 선정하여, 리오셀 심지접착포의 접착심지와 리오셀겉감의 특성에 따른 외관적 성능과 역학적 특성을 측정한 후, 통계적 분석(t-검정, F-검정)에 의해 검정하여 다음과 같은 결론을 얻었다. 1. 리오셀 심지접착포의 드레이프성과 구김회복성은 접착심지의 구조에 영향을 받고, 강연성은 접착심지의 구조와 리오셀겉감을 구성하는 실의 변수에 영향을 받는다. 2. 리오셀 신지접착포의 인장특성중 WT는 리오셀겉감을 구성하는 실의 번수와 혼용률에 영향을 받고, RT는 리오셀 겉감을 구성하는 실의 번수에 영향을 받는다.

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• 복식
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• 제58권2호
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.

• 패션비즈니스
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• 제5권4호
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• pp.158-175
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• 2001

The purpose of this study was to understand and improve the clothing habits and the apparel industry of North Korea in preparation for the reunification of South and North Korea. For this study, literary data, reports, periodicals, interviews and internet data of the two Koreas were reviewed. North Korean clothing habits used to be monotonous and uniform but nowadays people's clothes have become somewhat brighter in color and more diverse in design than before. In particular, liberal and individual dressing habits appeared among the privileged classes. When taking part in national events, women have to wear the traditional Korean costume, Hanbok, while men wear business suits for formal wear. In general, men don't wear Hanbok. Students have to be in uniforms but blue jeans, T-shirts with English logos were popular among them reflecting their sensitivity and openness towards western cultures. The brides usually wear pink Hanboks and the bridegrooms wear black business suits for their wedding. North Koreans also wear Hanbok on national holidays like South Koreans. Clothing is the most important item in the trade of process commission between North and South Korea. Trading items are mid to low end men's clothing for the most part due to less emphasis on fashion in the North. The processing is indirect trade and composed of sample making and contracting, sending out materials and production, carrying in goods and setting accounts. To activate South-North trade, establishment of infrastructure, stabilization of shipping, reducing high costs of distribution, building direct communication system by setting up office in a neutral zone and simplifying procedures in applying for the South and North Korea Economic Cooperation Fund. On the other hand, clothing and textiles education is carried on at art colleges, light industries colleges and commercial colleges in Pyongyang. Clothing institutes which study Hanbok and Western clothes, are installed in each city and province. Graduates who majored in clothing and textiles are posted in institutes or apparel factories. Their job is designing, patternmaking and sewing for their customers. Most of them are women and in good state of economic conditions. The North Korean clothing industry has been the core national industry that has developed based on overseas demand form the mid 1980s. The standard is that of South Korea in the early 1980s. In 1999, trade of North Korean textile products with trade counterparts such as Japan and China was $1.3 million in exports and $1.27 in imports. Of this amount the export takes up 25.4% of the total exports in North Korea. However, fundamentally even in sectors that are irrelevant to politics such as the fashion clothing industry, trust between the South and North should be a prerequisite. Only through this can exchange between North and South and economic cooperation contribute towards the reunification.

• 한국지역지리학회지
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• 제3권1호
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• pp.183-198
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• 1997

본 연구는 구미공단 1단지내에 입주하고 있는 공장의 입지과정과 공간연계를 통하여 입지특성을 밝히고 공단내 공장의 전수를 방문하여 면담과 질문지에 의하여 조사하였다. 구미공업단지는 국가의 정책과 인접지역인 대구의 공업특성이 반영되어 전자공업과 섬유공업으로 특화되어 있으며 업종별로 단지가 양분되어 있다. 공장유치정책에 의한 유인효과로 소수의 대기업이 입지함으로써 관련되는 중소기업의 입지를 촉진시켰으며, 섬유공업은 대구에 본사를 둔 분공장이, 전자공업에서는 부품을 생산하는 단일공장이 다수를 정한다. 물자연계에 있어서 섬유공업은 원료구입은 대구와 제품판매는 수출중심으로 해외지역과 연계가 강하며, 전자공업은 원료구입은 타도시와 제품판매는 단지내와 연계가 강하다. 서비스연계도 업종에 따라 차이가 있으며, 고차서비스는 타지역과 저차서비스는 지역내와 연계하고 있다. 구미공단내의 공장은 하청관계가 탁월하여 지방소재 공업단지의 특성을 반영하고 있고 공간적인 관계는 섬유공업은 대구와 전자공업은 공단내의 대기업과 강한 연계관계를 맺고 있다.