• Fashion & Textile Research Journal
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• v.7 no.5
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• pp.547-552
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• 2005

The study has objective in raising value of the gray color as a meaningful color suiting sentiments of modern people by expressing the gray color in various perspective utilizing natural dyes that is natural at the same time having aesthetic color tones. For example, the main ingredient used for coloring black and gray color is the pyrogallol tannin and the gray tone dye can be acquired by combining the tannin with iron. In order to find the suitable condition for processing tannin, UV-Vis part absorption spectrum of Gallapple pyrogallol tannin, dye ability based on temperature and time, reflection rate based on concentration, color changes based on acid treatment and alkali treatment, changes on surface based on concentration or metal mordant condition, and lightfastness were measured. Maximum absorption wavelength (${\lambda}_{max}$) of Gallapple tannin was at around 273 nm, while strong absorption was also observed at below 350 nm. Dye ability of Gallapple tannin is done more easily on silk rather than cellulose fibers such as cotton, while the optimum condition for dyeing was observed to be at $60^{\circ}C$, for 20 minutes. As a result of acid treatment, the color of dye material consist highly of gray tones and showed red tone after the alkali treatment. While it was observed that as dye concentration and metal mordant concentration increased the color changed at counter-clockwise direction on the Y-scale of Munsell's scale of colors. Lightfastness was more on a normal fading. I hope this study opens up possibilities towards presenting gray color expressed from tannin as color with diversity and aesthetic value. In future, comparative study between dye expressed from catechol tannin dye materials will be helpful.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.101-115
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• 2001

This study is to examine the characteristics of fabrics in Koryo dynasty by reviewing the fabrics for enshrining oblations inside a buddhist statue in MoonSoo temple, which are currently possessed in SooDuk temple. The research results follows : The fabrics are 33 pieces in total : 28 Pieces of normal fabrics, 5 pieces of fabrics that is used for covering the five grains, and others like variegated silk threads. Out of 33 pieces of fabrics are there 31 pieces of silk and 2 pieces of ramie. The tabby fabrics, which have the most pieces among the fabrics, are 11 pieces in total. There are 1 piece of designed tabby fabri. whose patterns are expressed by dyeing. as well as non-designed tabby fabric. The twill fabrics are 8 pieces in total. Its patterns are mainly the type that small patterns are consecutively reiterated. And they have various patterns including plant patterns, such as lotus pattern, flower pattern. etc., animal patterns such as dragon pattern. etc., geometric patterns. such as turtoise-shell pattern. swastika, etc. The leno and gauze fabrics are 1 piece of 4-end complex designed-gauze and 1 piece of gill gauze. The compound woven fabrics are 2 pieces of brocaded gauze and 3 pieces of brocaded twill. Brocaded gauze is a kind of brocaded fabrics and is made by adding a gold thread between wefts of already weaved gauze. The figured fabrics are 1 piece of tabby fabric, 6 pieces of twill fabrics, 4 pieces of leno and gauze fabrics, and 5 pieces of compound woven fabrics. All of them are 16 pieces out of all 33 pieces and amount to almost 50%. Single-patterned fabrics, that is one pattern is expressed individually, are much more than any others. Plant patterns are the ones that are used the most.

• Journal of the Korean Society of Costume
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• v.43
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• pp.259-282
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• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.

• Journal of the Korean Society of Costume
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• v.14
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• pp.133-144
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• 1990

The purpose of this study is to investigate the absorbance of the Shikonin, one of the major purple pigments, and the stability against the effect of light, $O_2$, and temperature. The effect of mordant and mordanting condition to color and color-fastness is compared and analysed through the color-fastness-test, color-difference value-test, and IR-test. The results were as follows; 1. The absorbance of Shikonin was examinated through 6 kinds of solutions and distilled water. Shikonin was absorbed by solutions rather easily than distilled water. 2. The light effect to Shikonin indicated that the solution with the light was more stable than that without it. 3. The effect of $O_2$ to Shikonin showed that the solution with the $O_2$ was more stable that without it $O_2$. 4. Shikonin -methyl alcohol solution was stable in $25^{\circ}C$. It was unstable in $60^{\circ}C$ and $100^{\circ}C$ with lowered absorbance and changed colors. 5. Color-fastness test to silk and cotton indicated washing color-fastness and perspiration color-fastness was more than 3 grade. But the light color-fastness and crocking color-fastness was low. 6. The comparison between non -colored sample and colored-sample showed the latter was better in fastness. 7. Mordant as $Alk(SO_4)_2{\cdot}24H_2O$ and $AlCl_3{\cdot}6H_2O$ was better than anything else in fastness. 8. Color-difference value-test indicated that the mordant which had the jade green color, the original purple pigment color, was the best in use. 9. The best way to extract the original purple pigment color was in $25^{\circ}C$, because extracted dyeing solution by Soxhlet had the bluish color.

• Conservation Science in Museum
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• v.12
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• pp.9-17
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• 2011

This study examined non-destructive UV-Vis spectrophotometry as well as 3-D fluorescence spectrophotometry of textile that made use of red dye such as Sappan wood, madder, Safflower, Gromwell. The authors produced two textile specimen that were dyed by not only two kinds of textile (cotton and silk) but also three kinds of mordanting (no-mordanting, alumen and iron), and they investigated effects of each dye material upon investigation results. At analysis with UV-Vis spectrophotometry of dyed textile specimen, dyeing made by sappan wood, madder and gromwell had significant difference depending upon mardant regardless of kinds of textile, and safflower had no significant difference depending upon textile and mordant. At analysis with 3D-fluorescence spectrophotometry, specimen dyed with sappan wood had difference with mordants, and with madder, there were difference with textiles, and safflower had inherent fluorescence spectrum regardless of textiles and mordants, while gromwell had no fluorescence spectrum.

• Textile Coloration and Finishing
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• v.21 no.1
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• pp.38-45
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• 2009

First of all, the properties imparted to PET fabrics are resistance to and recovery from creasing or wrinkling when wet or dry; high resistance to stretch in the filament yarns but not in the staple; high abrasion resistance; good texture and appearance; resistance to heat ageing; good chemical resistance and good resistance, behind glass, to sunlight. But, the low moisture regain of PET fabric conduces to static troubles in textile processing. Furthermore, garments made from PET may, during wear, develop electric charges which attract to the fabric particles of soil(dirt, swarf, dust) flying in the air, so that the cuffs of shirts, for example, become soiled quickly and are not easily laundered clean. The sericin constitutes 25$\sim$30％ of silk protein and surrounds the fibroin fiber with sticky layer that supports the formation of a cocoon. The useful biochemical properties of sericin protein are oxidation resistant, antibacterial, UV resistant, hydrophilic property, and good affinity with hydrophobic material. These properties can be used as an improving reagent or a coating agent for natural and synthetic fibers, fabrics, and other intermediate products. The sericin is also applied to cross-link, and can be blended with other materials. In this study, we modified the surface of PET fabric by mixture of sericin finishing agent; sericin, polyuretane binder and 1,2,3,4-butanetetracarboxylic acid (BTCA) cross-link agent. Also, we investigated the finshing effect; moisture regain, stiffness, handle, drape and electrostatic. The moisture regain of PET fabric treated with sericin finishing agent was higher than that of untreated PET fabric. As a result of evaluating influence about handle of PET fabrics treated with sericin finishing agent, it was confirmed that the sericin finishing agent could be use as a linen like finishing agent.

• Journal of the Korean Society of Costume
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• v.51 no.1
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• pp.21-32
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• 2001

Gauze is very light and thin. Their warps are entangled and their structure is loose. It is natural that they are easier to decay than other silk fabrics through physiochemical processes over a long period of time. Nonetheless quite many remains of Gauze fabrics can be found in China or Japan as well as in Korea. Various Gauze was used in costumes since the era of the Three Kingdoms and their weaving techniques, such as using gold threads with silk-fabrics, was developed in Koryo dynasty era, which made it possible to create more magnificent gauze fabrics in Korea. Relatively a lot of Gauze fabrics are remained in Korea. Based on these corroborative relics, this thesis analyzes the characteristics of gauze fabrics possesed in Korea and categorizes the gauze fabrics described in the Decrees on Costume Restraint of the King Hungduk. This also compares them with the present gauze in other countries. The types of gauze fabrics are generally divided into desined gauze, and non-designed gauze, the one without pattern. There ar a lot of desined gauze, such as dyeing gauze, brocade gauze, embroidery with gauze ground, patterned gauze with gauze ground etc. which were found in Korea and also in China and Japan. Non-designed gauze is divided into 2-end complex gauze, 3-end complex gauze, 4-end complex gauze, etc depending on the number of crossing warps. All of the non-designed gauze of Koryo dynasty found in Korea was 4-end complex gauze fabrics. These non-designed gauze fabrics were also found in Japan and China.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.45-53
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• 2004

Natural dyes have poor colorfastness as a result of the exposure of the dyed fabric to sunlight encountered during the display or wearing. As colors on fabrics fade excessively under sunlight, it is a problem to infer and restore the historic textiles with natural-dyed fabrics to original colors. The object of this study is to analyse the factors affected to color change under light. In experimental, fifteen natural dyes were dyed by the Korean traditional dyeing methods onto natural fiber fabrics: cotton, silk, ramie, and flex. Total 49 dyed fabrics in combination with dyes and fibers were used for the specimen. The Weather-O-meter was used for evaluating the effects of exposure to light for 2.5 to 450 hours. The process of color changes in the CIEL *A*B* color-order system to the exposure time were determined by spectrophotometer at 10$^{\circ}$ observer. Sunlight exposure caused significant changes in the color of natural-dyed fabrics. The degree and nature of color changes on the fabrics were dependent on the combination of fiber and the type of dye used. The groups of violet(Lithospermum erythrorhizon Sieb.et Zucc.) and black color(Ailanthus altissima Swingle, Phus trichocarpa Miq) yielded excellent colorfastness to light. The group of indigo blue color(Polygonum tinctorium Lour.) was also very resistant to fading in both exposure except silk. Whereas the dye groups of Red, Yellow, Orange, Brown colors indicated greatest changes in fading, particularly Carthamus tinctorius L.

• Journal of the Korean Home Economics Association
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• v.41 no.1
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• pp.249-257
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• 2003

For the efficiency in extracting gromwell colorant, methanol, ethanol and aceton were used as solvents. Also, to compare the results when dyed in various conditions and on various fabrics, the ratio of water-dye mixture, pH, temperature, and varieties of fabrics -wool, silk, cotton, nylon, ramie- were selected. L, a, b, ΔE, munsell and K/S value of each sample was measured and compared for the practical use. Water-dye mixture of 5:5 ratio showed the optimum dyeability. Not to mention wool and silk, but also cotton showed a satisfying dying result at the acidity of pH4. As the temperature increased, the dyeability of all three fabrics improved greatly. Especially, wool showed the highest improvement in terms of dyeability as the temperature increased. K/S values for wool and nylon showed superior results to the others in the gromwell colorant. The resulting color turned out somewhat different depending on the solvents used and the sort of fabric that was tested on. When the gromwell colorant extracted with methanol or ethanol was applied, the color of fabrics came out as purple or purpleblue. When the colorant extracted with acetone was used, the color of fabrics came out to be redpurple. The colorfastness to light showed low glades regardless to whichever solvents were used. The grades of colorfastness to laundering were recorded low numerical values, and its record became even lower when the gromwell colorant extracted with aceton was applied. The staining grade of the colorfastness to laundering showed a good grade in the range of 4 to 5. All the dyed fabrics showed a excellent drycleaning fastness.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.9-15
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• 2002

Compared with synthetic dyes, natural dyes have inferior colorfastness as a result of the exposure of the material to any environment that may be encountered during the processing, testing, storage, display or use of the dyed materials. Especially, colors on fabrics fade excessively after washing. Therefore, it is problem to infer the historic textiles with natural-dyed fabrics. The object of this study is to analyse the factors affected to colorfastness and color change during washing. In experimental, fifteen natural dyes were dyed by the Korean traditional dyeing methods onto natural fiber fabrics: cotton, silk, ramie, and flex. Total 49 dyed fabrics in combination with dyes and fibers were used for the specimen. The Launder-Ometer was used for evaluating the effects of exposure to repetitive washing from 1 to 20 washing cycles (KS K 0430). Color difference(ΔE) in the CIEL＊A＊B＊ color-order system were determined by spectrophotometer at 100 bserver. Washing caused significant changes in the color of natural-dyed fabrics. The degree and nature of color changes on the fabrics were dependent on the combination of fiber and the dye type used. The groups of violet(Lithospermum erythrorhizon Sieb.et Zucc) and black color(Ailanthus altissima Swingle, Phus trichocarpa Miq) yielded excellent colorfastness to repetitive washing. The group of indigo blue color(Polygonum tinctorium Lour.) was also very resistant to color change in washing except silk. Whereas the dye groups of Red, Yellow, Orange, Brown colors indicated greatest changes in color, particularly Carthamus tinctorius L.