• Fashion & Textile Research Journal
• /
• v.19 no.3
• /
• pp.312-319
• /
• 2017

The purpose of this study was to develop a customized wrist brace using 3D scanner and 3D printer. This study included in-depth interviews with people who had wrist pain and ever used wrist braces. The wrist brace has been designed and modeled by the CAD program after 3D scanning the wrist of subjects. Based on the results of the in-depth interviews on wrist brace users and design investigation in the market, a prototype of the wrist brace has been created. The wrist brace does not compress the hand and is easy to put on. In addition, it is adjustable to the wrist of users, allowing them to move his or her wrist without any restrictions. A computer-modeling program produced solid files for the design of the wrist brace after 3D scanning ten subjects' hands. It features a lattice-patterned surface, a velcro adjustment and trimming to smoothen the surface. PLA filaments were used to 3D print the wrist brace. As for the assessment, the wrist brace has been evaluated to be easy to put on and adjust to user's wrist. However, when it comes to appearance and comfortability, it was rated 3.0 or slightly above. This is because 3D printing materials are firm and not flexible compared to other materials such as neoprene or stretchable bands.

• Journal of the Korean Society of Costume
• /
• v.65 no.1
• /
• pp.46-60
• /
• 2015

This study analyzed the process of development and verification of standards through the competency analysis of fashion accessories products in the development of 'National Competency Standards'(NCS), which was carried out in 2013 for the fashion industry. The NCS for fashion accessories production was developed through three Focus Group Interviews (FGIs) and fashion accessories production was defined as "the process of design, development and manufacture intended to produce items that improve the degree of completion of fashion products that are produced from textile fabric, knitted fabric, leather and other materials such as bags, belts, hats, gloves, scarves, neckties and socks with the exception of clothes". The competency unit for fashion accessories production was analyzed in 11 categories: development of design; development of materials; production of prototype samples; calculation of cost; determination of mass production model and price; planning of main manufacture process; ordering of materials; planning for mass production; preparation for mass production; mass production; and inspection of completed products, and the verification was carried out on development outcomes through a survey carried out of on-site personnel. This study recommends the following direction for future improvements based on an analysis of the development process of the NCS for fashion accessories production. First, future development of standards should first provide a rational category system for each area of fashion good production based on the production process, which should be followed by a detailed competency survey. Second, in order to ensure a more efficient verification survey, an expert for each competency unit should be designated for the develop standard to induce a more sincere response. Also the questionnaire should require supplementation in order to collect the various additional opinions of experts of the field. Finally, this study concludes that it is urgent to procure an education infrastructure and specialized professors in order to apply the competency standard for fashion accessories production to the education sector. This study also concludes that the government will be required to provide systematic and consistent support aimed at supplementing development and forming a firm collaborative working environment for the industry and academia in order to improve the current education environment and build a more field-oriented education environment.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.33 no.11
• /
• pp.1719-1732
• /
• 2009

A firm seeking to enter a foreign market must make an important strategic decision of which market entry mode to use. Because entry modes involve resource commitments, the initial choice by a firm on a particular entry mode is difficult to change without a considerable loss of time and money. Substantial prior research has been undertaken to explain why firms select a particular entry mode into global markets. However, there exists limited research on this area in the field of foreign apparel brands in Korea, although some research has analyzed influential entry mode factors when Korean textile and clothing companies went overseas. This study reviews prior research on the entry mode choice and analyzes the factors that influence the entry mode choice for 510 foreign clothing brands in Korea. Price range, clothing types, distribution strategy, and cultural distance were considered as influential determinants for different entry mode choices. Crosstabs with a chi-square test and logistic regression are used for analysis. This study shows that high-priced brands and luxury brands are associated with the export orientated entry mode in the Korean market. Brands that pursued the strategy of multiple distribution channels showed a preference for a licensing mode or direct investment over other entry modes, and brands from higher-cultural-distance countries entered the Korean clothing market by licensing mode. The findings of this study are appropriate for the strategic planning of foreign apparel intent on entering the Korean market or for Korean apparel firms planning to enter the global market.

• The Journal of Natural Sciences
• /
• v.7
• /
• pp.133-162
• /
• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.