• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2011.03a
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• pp.109-109
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• 2011

국내의 섬유산업은 핵심 원천기술의 부족으로 고성능 섬유소재 등 고부가가치 제품의 제조가 취약한 실정이다. 이러한 고성능 섬유제품 산업의 기반이 되는 요소기술인 고성능 소재 생산, 복합화, 염색/후가공, 제품 설계, 디자인 및 제품화 기술 등의 모든 분야에서 선진국 대비 기술 수준이 부족하다. 하지만, 최근 들어 부가가치가 큰 고성능 의복 시장에의 관심이 증대되고 있으며, 국내에서 p-aramid 및 m-aramid 등의 고성능 소재의 양산화 및 활발한 기술개발 등이 이루어지고 있다. 또한 다양한 용도 전개 노력으로 제품화가 이루어지고 있으므로 고성장 가능성이 잠재되어 있는 분야이다. 이처럼 기 개발된 고성능 섬유소재를 이용하여 용도에 따른 제품화로 산재되어 있는 고성능 의류 시장에의 진입 및 선점이 필요하다. 본 연구에서는 고내열 소재인 FR-rayon(100%) 직물과 FR-rayon/m-aramid로 혼방하여 제직된 직물을 이용하여, 동일 전처리 조건에서 조제 투입비를 달리하여 전처리 공정을 진행한 후 침투도,호발성, 인장강도 등을 비교/분석하여 전처리 효과를 확인하였다.

• Conservation Science in Museum
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• v.18
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• pp.35-50
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• 2017

As part of the NMK's research project on wooden Buddha statues, four items which contained fabric among their bokjang objects(腹藏物) were investigated. Firstly, when classified by the method of weaving, two items made of ra (羅, a four-end complex gauze) silk and five of neung(綾, twill damask) silk from the Goryeo era were identified, and the satin fabrics showing characteristics of the Joseon period were classified as either dan(緞, satin damask) or sa(紗, simple gauze). In particular, the fabric of the bokjang objects enshrined within the gilt-bronze Avalokiteshvara Bodhisattva(Deoksu 801) feature both early and late Joseon characteristics, suggesting that two enshrinements were performed(once in the fifteenth century and another in the seventeenth). Secondly, the patterns on the fabrics included flowers, treasures, fruits, plants with animals, and landscapes with clouds. Thirdly, patches of fabric were found that are assumed to be related with all cardinal directions according to their arrangement, albeit in small quantities.

• Composites Research
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• v.32 no.2
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• pp.120-126
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• 2019

Advanced fiber fabrics have been utilized in not only anti-stabbing and bullet-proofing for body armor but also various industrial fields including vehicular armor and spacecraft structure. Furthermore, there have been a number of research to improve the ballistic performance of advanced fabrics introducing many computational approaches. In our research, an advanced fabric, Heracron manufactured in South Korea was modelled firstly using Autodyn, a commercial software specializing in impact and explosion phenomenon. The sensitivity of the input parameters was also confirmed by conducting simulations. To verify the numerical modelling, we measured and compared the simulation results with velocity decrements after impact involving one, three, and five layers of Heracron under 200-500 m/s impacts by an aluminum spherical projectile. The Heracron fabric was successfully modelled using Autodyn.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2011.11a
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• pp.62-62
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• 2011

현재 다운방한 용도에 사용되는 직물 트랜드는 경량화 및 박지화 추세에 있으며, 국내외 유명 브랜드에서 사용되는 스포츠웨어 직물소재의 대부분이 이러한 제품으로 판매가 이루어지고 있다. 현재, 국내외 다운방한용에 사용되는 원단은 겉감이외에 다운 세기방지용 안감직물을 사용하여 다운이 빠져나오지 않도록 하고 있음. 그러나, 최근 겉감으로 사용하여 다운이 세지 않고 매우 가벼우면서 Packable 원단개발이 요구되고 있을 뿐만 아니라, 다운방한직물에 요구되는 성능에 만족하거나 성능이 향상된 고기능 원단개발이 요구되고 있다. 이러한 다운방한용 직물은 다운의 내구성 및 지속성 측면에서 매우 많은 기능이 요구되고 있으며 현재 국내에서 사용하고 있는 다운방한용 직물은 다운커버직물을 사용하거나 코팅에 의해 다운세기 방지기능을 강제로 발현시키고 있다. 그러나 그 직물은 경량화 되어가고 있기 때문에 다운커버 직물을 사용하지 않으면서부터 다운이 세는 문제점, 그리고 공기투과 및 투습이 제대로 되지 못하는 기능성의 문제점, 경량화와 더불어 인열강력이 약하여 잘 찢어지는 문제점, 인열강력의 물리적 특성을 높이고자 코팅을 하게되면 기능성 및 감성이 더욱 나빠지는 문제점이 나타나게 되어 다운 방한용 직물은 큰 문제점이 되고 있다. 이에 겉감만으로도 다운방한용도에 적합한 고감성 및 기능성을 가진 경량직물 개발을 위해 고밀도 제직 및 설계 기술, 최종 염색가공 및 후가공 공정까지의 공정내(內) 간(間)연계기술을 연구하였다.

• Archives of design research
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• v.16 no.4
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• pp.299-312
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• 2003

In modern industry, creative sense together with advanced scientific technology is an important element. In modern textile industry as well, these two elements working in dose relationship one to another play important roles in the advent of high value-added textile of unprecedented high quality, high capability, and high sensitivity. Especially, creative sense which is necessary in generating additional value of textile is all the more essential for the development of diversified, unique, and differentiated products that are sought by all contemporaries. The aim of this research is to recognize the importance of handicraft which has a great impact on modern textile design in the generation of additional value, consider the applicability and the aesthetic method that this technique presents, thereby contributing to the development of modern textile

• Science of Emotion and Sensibility
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• v.5 no.1
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• pp.25-32
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• 2002

This paper aimed to identify the sensation and the sensibility of transformed colors from the rustling sound of silk fabrics and to visualize the relationship between sensibilities and fabrics by two-dimensional model. The rustling sounds of 7 silk fabrics were recorded and then the recorded sounds were transformed into colors by the program of sound to color transformation. The sensation and the sensibility of transformed colors were evaluated by 30 participants with Likert scale and the physical properties of each specimen were obtained with red portion (RP), green portion (GP), blue portion (BP), and sum of color count (CC) by means of new equation. The adjectives of sensibility were grouped into three groups: Elegant, Active, and Tough. Elegant was related with RP positively and CC negatively. On the other hand, Active was related with GP and CC positively. Also Tough was highly related with RP. Furthermore, the fabrics that were estimated the high purchase preference showed high CC, RP and GP. Also two dimensional model of relation of the sensation and the sensibility could help to understand those relation.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.37-49
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• 2006

The purpose of this study is to figure out the types and characteristics of the twill damask fabrics through literatures review of both domestic and Chinese documents and records. In addition, the study aims to review the characteristics of the twill damask fabrics found at Sukga Pagoda. The twill damask fabrics can be categorized in terms of the weaving method into Float Pattern on a Tabby Ground, Twill Pattern on a Tabby Ground, Float Pattern on a Twill Ground, Twill Pattern on a Twill Ground, and Without Pattern on a Twill Ground. The fabrics ran also be divided in terms of their name into Ki, Neung, and Munju. Four items of twill damask fabrics were found inside the Sukga Pagoda. All of them are Twill Pattern on a Twill Ground. At the primitive level of weaving skill, twill damask fabric was made by adding patterns with twill damask or BuJik on the background of plain weave. At more advanced level, the fabrics are weaved by making patterns with twill damask or BuJik on the background of twill damask. Compared to the relics of Koryo and Chosun Dynasty, these twill damask fabrics were loosely weaved with relatively thick thread.

• Archives of design research
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• v.20 no.1 s.69
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• pp.229-242
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• 2007

In Japan, a country renowned for her traditional respect for handicraft, superior craft techniques have been transmitted from generation to generation. Modern Japanese textiles reinterprete these traditional techniques in a new light and combine them with modern technology, to make modern Japanese industrial textile both futuristic and traditional simultaneously. This combining of new technology and handicraft serves as a reservoir for a remarkable diversity and originality in the development of new technology and design, and constitutes an important trend in modern industrial textiles. The aim of this study is to investigate the developmental background of Japanese textile industry that championed this trend to make the Japanese development unique in modern textile industries and to consider the concept of modern textiles as well as the structural innovation as represented by this new trend, thus contributing to the development of creative textiles for the present and the future. The findings of this study can be summarized as follows. The combining of new technology and traditional handicraft: 1) was made possible by Japanese consciousness that values traditional culture and by early recognition of advanced textile industry, which awarded new meaning and value to the traditional handicraft leading to an expanded social role for textiles. 2) helped construct a modern concept of textiles by pursuing textile media that are state-of-the-art, aesthetic, and highly sensitive to satisfy the requirements of modern industrial textile such as high quality, high performance, and high sensitivity. 3) enabled new design ideas and creation of new styles by implementing structural innovation in industrial textiles that involved diversification of expression, diversity in materials, and emphasis on texture. In short, by combining new technology and traditional handicraft, Japan came up with a new sense of aesthetics that is highly original and high level and with which the rest of the world can easily sympathize, thereby presenting one of the most important guiding principles for future textiles.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2006.11a
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• pp.199-202
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• 2006

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.