• 감성과학
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• 제25권1호
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• pp.129-142
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• 2022

본 연구에서는 고등학교-대학 연계 학과 전공체험 프로그램을 개발하여 적용하였다. 프로그램은 메이커 교육과 성장 가능성이 큰 스마트의류 테크놀로지를 접목시켰다. 첫째, P(준비) 단계에서는 스마트의류 및 메이커 교육에 대한 선행 연구의 내용을 파악하여 스마트의류 테크놀로지를 염색 디자인 교과목에 접목하였다. 둘째, D(개발) 단계에서는 잉크젯 프린터용 전사지를 이용한 전사염, 전도성 실과 LED 전구를 이용한 스마트의류 테크놀로지를 적용하여 감성에코백을 만드는 프로그램을 개발하였다. 셋째, I(실행) 단계에서는 의류학 전공을 희망하는 고등학생 17명을 대상으로 수업을 진행하였다. 마지막으로 E(평가) 단계에서는 스마트의류 테크놀로지를 적용한 메이커 교육 프로그램의 만족도를 5점 척도로 측정하였다. 그 결과 4.95점으로 매우 만족하는 것으로 평가되어, 기존 프로그램에 릴리패드 아두이노를 추가한 심화 프로그램을 제안하였다. 따라서 본 연구를 통해 전도성 실과 전사염을 적용한 감성에코백 개발 프로그램은 스마트의류 테크놀로지에 보다 쉽게 접근할 수 있어 의류학 전공에 관한 고교 학생들의 생각을 확장시킬 수 있음을 확인하였다.

• 헤리티지:역사와 과학
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• 제54권1호
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• pp.52-69
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• 2021

고려시대의 사경은 어느 시기보다도 정교하고 화려한 기록물로 우리나라 서지학상 매우 중요한 위치를 차지하고 있다. 그 가운데에서도 감지(紺紙) 바탕에 제작된 사경은 장식성과 귀족들이 선호하였을 법한 품위와 격을 여지없이 보여주는 예라고 할 수 있다. 특히 이 시기에 제작된 많은 양의 사경들은 감지에 권자본(卷子本)과 절첩본(折貼本)의 장황 형태가 대표적인 것이다. 권자본은 유연성이 보장되지 않으면 그 자체가 갖는 구조적 한계 때문에 취급에 있어 불편함과 손상을 야기한다. 이를 보완하기 위해 절첩 형태로 바꿔 제작함으로써 편의성과 구조적인 안정성을 꾀하여 단점을 극복할 수 있게 되었다. 절첩 형태는 병풍의 형태와 유사하여 접었다 펼 수 있는 구조로 한 면의 크기에 맞추어 규칙적으로 연결되어 만들어진 것이다. 아무리 작은 크기라 하더라도 얇은 한지로 제작하면 취급에 어려움이 따르고, 형태를 유지하기 힘든 구조라고 볼 수 있다. 이러한 이유로 통상 절첩형의 사경은 두꺼운 종이로 만들어 첩의 구조를 지탱할 수 있는 힘을 가지도록 하였으며, 표지는 내지보다 더 두껍게 제작되어 내지를 보호할 수 있도록 하였다. 즉, '절첩형'은 종이에 두께를 주어 강도를 유지해야 하는 특성에 맞게 제작되는 것이 일반적이다. 그렇기 때문에 많은 양의 한지를 진하게 염색 가공하는 것은 오롯이 장인의 몫이 될 수밖에 없었다. 비단에 비해 흡수량이 몇 배 이상이고, 수십 차례 염색을 하여야만 진한 감색을 얻을 수 있는 '감지 제작 기법'은 구체적으로 문헌에 남아 있지 않고, 기법도 명맥이 끊긴 지 오래이다. 최근 한지장인과 천연염색가, 수리복원가에 의해 제각기 시도는 되고 있으나 유물에서 보이는 질감과 깊은 색감은 도저히 흉내낼 수 없다. 본 연구에서는 고려 말 사경을 보존 처리하기 위해 실제 유물에 적합한 보강지를 제작하는 과정에서 염색장과 한지장, 그리고 수리복원가의 협업으로 고려시대 감지를 재현하는 일련의 과정을 소개하고, 감지의 재현·제작 방법을 유추해보고자 한다.

• 복식
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• 제18권
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• pp.97-110
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• 1992

West African's traditional looms, weaving and raw materials, structural patterning, dyeing and basic forms of dress were examines in the present study in order to deepen the appreciation of the cultural heritage of West Africa, and to make a contribution to the policy planning for export market developing The research method employed was the analysis f written materials. The study was limited to the traditional clothing habit which is preserved and practicing by them at the present day and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) They have vertical single-heddle loom horizontal or ground single-heddle loom, and double-heddle loom. The width of the cloth produced on the single-heddle loom varies about 38.5cm to 123cm and double-heddle looms all produced on the single-heddle looms all produced narrow strips of cloth varying in width from about 1.3cm to 75cm, although the average is about 10-20cm. (2) Despite the relative simplicity of the llom technology a remarkable variety of textiles are produced. (3) The most popular decorative technique in West African compound weaves is extra-weft patterning which is produced on both single-heddle and double-heddle loom by men and women weavers. Other forms of secondary patterning on textiles in West Africa are dyeing, applique, patchwork and embroidery. (4) Two basic forms of dress have spread throughout West Africa, the poncho (bpibpi) and the wrapper. Some versions of these basic forms are supplemented by western inspired trousers, shirts and blouses coupled with accessories usually complete their traditional outfits. They have a great variety of basic poncho, like as Khasa, Gandura, Tuareg-poncho, Babariga, Rigas (agba-da), Grand-boubou, Afteck, Tagua, buba, Danshike etc. Although West Africa has long been in contact with the peoples of the Nile region as well as the Maghreb and Sahara, both the boubou styles and the wrapper styles appear to have developed with a minimum of outside influence. African Islam was the principal agent for the diffusion of the boubou styles.

• 복식문화연구
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• 제29권4호
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• pp.585-602
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• 2021

The purpose of this study is twofold: First, to develop new sustainable design methods (aligned with ethnic elements and traditional culture) combined with three-dimensional digital clothing technology throughout the design process, which can be presented as guideline materials for various fashion designs to be developed in contemporary sensibilities. Second, it is the intention to produce creative fashion designs by incorporating the characteristics and methods of Miao's Huangping batik dyeing technique and to present various possibilities in the fashion design field. The overall design characteristics sought by Miao minority are in line with the complex terrain and the ecological and climatic conditions. Miaoist batik dyeing (registered as part of Chinese national intangible cultural heritage) features unique production methods and patterns. The study results are as follows. First, this attempt has enabled understanding of the national costume culture as Chinese Miao's traditional cultural heritage to be promoted, while the direction of contemporary design development using traditional elements has been presented. Second, the study demonstrated new and innovative expressions and styles relying on three-dimensional digital contouring technology and identified the possibility of developing various designs. Third, it was confirmed that the dyed batik pattern design created by the three-dimensional digital contouring technology could be recombined or expanded as digital printing to express the traditional ethnic designs in a practical manner utilizing digital printing techniques based on traditional characteristics.

• 한국의류학회지
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• 제30권4호
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• pp.507-518
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• 2006

This study aims to prove that traditional patchwork wrapping cloth can be a creative motive for modem fashion, and the application of it can be a way of expressing not only the pride in our cultural heritage but also the originality of fashion design. The analysis of the plasticity of 108 patchwork wrapping clothes has come up with the following findings: Firstly, the plane structure consists of 41 basic forms and 67 applied ones. Secondly, 61 contrast color harmony and 47 similarity color harmony. Thirdly, the fabric consists of 88 silk clothes, 19 ramie clothes, and 1 silk and ramie cloth. Fourthly, 47 unlined clothes and 61 lined ones. The study also expresses the analyzed plasticity of patchwork wrapping cloth for fashion with the following findings: Firstly, basic plane structures, contrast color harmony, silk cloth and the press flower coating technique become one piece dress to express splendid and elegant image. Secondly, application plane structures, similarity color harmony of natural dyeing method using persimmon, ramie cloth and the press flower coating and over lock technique become a jacket and a blouse to express calm and dynamic image. Thirdly, the needling and over lock technique used to patch clothes has become a desirable way to express fabric with unique surface effects. Fourthly, the press flower coating which modernizes embroidery in patchwork wrapping. cloth has become a new technique which can create high values with its extended the visual effects of the material. Fifthly, Patchwork wrapping cloth in Chosun Dynasty has now become a motive for modem fashion design to express tradition and creation.

• 보존과학연구
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• 통권32호
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• pp.5-24
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• 2011

우리나라의 능화지는 많은 전적류에서 표지로 사용되어 왔다. 이는 한국의 전적류에서 특징적으로 나타나는 점이다. 본 연구에서는 황벽, 치자로 염색한 한지를 사용하여 능화판에 시문하는 공정을 통해 능화지 시료를 제작하였으며, 대조군은 황벽과 치자로 염색한 한지와 염색하지 않은 한지를 사용하여 능화지의 물리적 특성(내절도, 인장강도), 항균성, 방습성을 분석하였다. 첫째, 내절도 측정 결과 능화문 시문을 하지 않은 CB, HB는 열화기간이 증가함에 따라 강도가 감소하였으며, 능화지인 CN, HN은 열화 초기에 강도가 증가하다가 열화 27일 이후부터 초기 값보다 강도가 낮아지며 점차 감소하였다. 인장강도는 모든 시료에서 열화가 진행됨에 따라 감소하는 경향을 나타냈다. 둘째, Arthrinium sp. 균은 능화지에서 능화문을 시문하지 않은 경우보다 약 10%정도의 낮은 생장률을 보였으며, Cladosporium sp. 균은 약 20~30% 정도 낮은 생장률을 보였다. 또한 치자(C)보다는 황벽(H)에서 10~30% 정도 낮은 균 생장률을 나타냈다. 이와 같은 실험결과를 통해 능화지가 배접된 한지보다 항균효과가 우수하였으며, 염색 재료의 경우 치자보다 황벽의 항균성이 높다는 것을 확인할 수 있었다. 셋째, 접촉각 측정 결과 CN, CB, HN, HB는 평균 $85{\sim}92^{\circ}$의 접촉각을 나타냈으며, NON-N, NON-B는 $59{\sim}63^{\circ}$의 접촉각을 나타냈다. CN은 CB보다 $1{\sim}7^{\circ}$의 높은 접촉각을, HN은 HB보다 $1{\sim}6^{\circ}$의 높은 접촉각을 나타냈다. 결과적으로, 능화지가 배접된 한지보다 높은 접촉각을 나타냄으로써, 능화지의 방습성이 높다는 것을 확인 할 수 있었다. 본 연구에서는 한국 능화지의 제작 기법을 제시하고, 능화지의 특성을 밝힌 결과, 능화지의 특성이 일반 한지의 특성에 비해 우수하였지만, 각 실험에서 도출된 결과에 대하여 추가 연구가 진행되어야 한다고 사료된다.

• 한국의상디자인학회지
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• 제8권2호
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• pp.47-59
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• 2006

The purpose of this study is to grasp the meaning of retro-fashion, to research the formative feature characteristic and aesthetic values. Retro-fashion is one of the expression of spatiotemporal-eclecticism, The formative of modern Retro-fashion are as follows: First, Retro-fashion based on spatiotemporal-eclecticism have been come from 40s, 50s, 60s, 70s, 80s style of time, and the asia, africa, middle east, latin America in region. Second, the design inspiration and technique is used more primitive crafts and decoration like handcrafted material, handmade ornaments as dyeing and embroidery of bohemian, jacqwuard pattern, oriental beads, applique, new hippie touch, patchwork, smocking, primitive button, woods, ethnic motives. Third, modern Retro-fashion is reflection of human feelings as nostalgia from the past, it supplies the sense of fashion creativity and new ideas.

• 한국의류학회지
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• 제48권2호
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• pp.300-311
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• 2024

Amid global environmental concerns, initiatives to adopt sustainable industrial processes have garnered significant attention in diverse sectors. Efforts have centered on utilizing natural resources as dyeing and functionalizing agents in the textile industry. However, the limited color fastness and functional endurance of natural compounds remains a substantial challenge. This research investigated whether ultrasound could enhance the finishing effect of natural compounds on cotton fabrics. Chestnut shell extract was prepared and applied to cotton fabrics using a pad-dry-cure technique, with concurrent application of ultrasonic power. Once integrated into the fabrics, the chestnut shell extract exhibited prolonged health benefits for users. The findings demonstrated that ultrasound treatment during the finishing process facilitated the diffusion of natural compounds from the chestnut shell extract into the fabric structure, resulting in a substantial enhancement of the finishing effect, notably augmenting the antibacterial properties of the treated cotton fabrics.

• 복식
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• 제4권
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• pp.13-24
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• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.

• 패션비즈니스
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• 제16권4호
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• pp.29-45
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• 2012

The purpose of this study is for providing not only the latest design technique trend for zero waste fashion, but information about creative fashion design education through eco-fashion industry trend in globally and domestic which is focusing on eco-fashion labelling. The research were processed with literature related eco, sustainable, green fashion books, former articles, newspapers, and web sites. The results as follows; The certification about eco-fashion product is moving to 'Life Cycle Assessment' from focused on primary process like material, finishing, dyeing. Especially simplicity of process means reducing the wastes. And fabric wastage for adult outwear was estimated 15% percent of total fabric used in general design studios. Three cases for Zero waste fashion were as follows; First, Jigsaw puzzle by Timo Rissane and Mark Liu were different zero waste methods, but the result was same. Rissene's method was based on traditional cutting like 'cut and sew' but traditional cutting can lead to design that have an abundance of fabric and drape. Jigsaw of Rissene was approached with description a pattern-cutting technique in which all piece interlock with each other generating no waste from design production. Another Jigsaw by Liu was related with innovative textile design. DTP makes the possibilities for zero waste garment production almost endless. The dress intricately cut from 10 pieces, wastes none of the fabric required to make it. Second, Subtraction Cutting by Julian Roberts provides unexpected fluid, organic forms and zero waste fabric. Utilizing Roberts plug(tunnel) technique enables any part of the garment that is removed for fit or aesthetics to be reincorporated into the design of garment. Third was 'Bio Couture' by Suzanne Lee. She has created garments from cellulose bacteria which grow in a bathtub using only green methods addressing in such as way ecological issues and exploring the future of fashion design in conjunction with technology.