• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.74-85
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• 2011

In modern fashion, accessories are recognized as indispensable articles for the completion of a look. Scarf and muffler has attained significance as a main fashion item. The purpose of study was to analyze the motifs of special material for muffler design on special material, and to seek unique and decorative effect using three dimensional method on the flat surfaced textile to give novelty. This study introduced technique of applying embroidery onto special materials such as fur and leather to achieve variety of texture effect. The results are as follows: Six designs were proposed. Each work has different detail and silhouette, and the unique motif design using embroidery with cotton, nylon, and bead on fur, leather, wool, and satin. This will be a method to develop value-added products in fashion and formative arts.

• Journal of the Korean Home Economics Association
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• v.12 no.34
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• pp.701-709
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• 1974

A study on shrinkage after wash of several cotton textiles for embroidery on the market produced the following results : 1. As the wash temperature rises, the shrinkage increases. 2. Shrinkage of sample 2 and 3, variant weave of plain weave, is greatest, and the next is that of sample 1, a variant of plain weave. Shrinkage of sample 4 and 6, which have more floating, is small. 3. In the wash, thickness of the textile increases with rise of the temperature. 4. Strength of the textile increases with rise of the wash temperature.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.29-47
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• 2018

This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.89-108
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• 2016

The purpose of this study is not only to trace the examples of 'Chesanja' from the texts and artifacts, but also to restore the terminology of the lost traditional Joseon embroidery technique. 'Chesanja' came on Mongolia and Yuan period affected embroidery techniques of the neighboring countries. Therefore, this study will focus on investigate the process of changing 'Chesanja' into Guya(Goya) through ${\ll}Barktonsa{\gg}$ the foreign language transcriptions of the Chosun dynasty, and examine the generation, fashion, and destruction of this technique with the social technical usage. Around the 16th century of the Joseon Dynasty, 'Chesanja' had been actively used as a decorative techniques to dairy products as well as a Buddhist memorial goods embroidered. Accor- dingly, in the "Beonnyeok-Baktongsa"(1515) appeared together written records with 'Chesanja' 'Gwiyeo[귀여]' the Eonhae(Korean annotation) only had emerged in the Joseon Dynasty. It was still a technique to decorate the edges of royal pillow in the mid-17th century. And we have checked from the text "Baktongsaeonhae"(1677) also. Despite this by the mid-18th century, the term in "Baktongsa-sinseok"(1765) and "Baktongsa-sinseok-eonhae"(1765) had disappeared. This phenomenon suggests the possibility that the production and utilization of 'Chesanja' required the sophisticated process for the ruling class had been declined with the custom of embroidery based on the gradation by colorful threads as the preferred technique. Therefore, 'Chesanja' and 'Gwiyeo'[귀여] disappeared from the records but they can be found in the artifacts of the royal family of 19th century. So Chesanja is calls Guya(Goya) and exists as unique technic only in the royal family.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.1-11
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• 2019

This study examined the cause of the phenomenon of shrinkage in machine-embroidered fabrics, specifically those made of thin and pliable fabrics. Four woven fabrics and two knitted fabrics were selected as samples for analysis. The fabrics selected were silk organza, flax linen, polyester chiffon, cotton batiste, polyester raschel mesh, and cotton jersey. The thickness and drapability of the fabrics were observed and the shrinkage of the various types of embroidered fabrics produced using satin & step stitch techniques were measured. Moreover, the correlation between the shrinkage of the machine-embroidered fabrics and the drapability of the original fabrics was analyzed. Also, the colorfastness of six embroidery yarns was determined. The results of the study are as follows: first, the shrinkage of machine-embroidered fabrics increased at a greater rate than in embroidered knitted fabrics as compared to rates in embroidered woven fabrics. Moreover, in terms of stitch techniques, there was a greater shrinkage rate when satin stitch was applied compared to step stitch. Second, the shrinkage rate of machine-embroidered fabrics decreased when a stabilizer was fused onto the fabric. The shrinkage rate also decreased for fabrics when fused with paper stabilizer compared to those without it, and the rate decreased at a greater amount with paper stabilizer as compared to alginate film. Third, since there was a strong correlation between the shrinkage rate of the embroidered fabric and the drapability ratio of the original fabric, it was generally the case that the more pliable the fabric was, the greater the shrinkage rate was when the fabric was embroidered. Fourth, while the embroidery yarns mainly used in machine-embroidery presented an overall excellent level of colorfastness, there was slight color migration of level 4 to level 5 when using viscose rayon.

• Journal of Fashion Business
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• v.23 no.2
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• pp.156-169
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• 2019

The objective of this study was to develop lightweight, stretchable, tight-fit smart sportswear using the conductive yarns into the garment and demonstrating its usefulness. Sportswears with the ability to control LEDs with respect to lighting of the surrounding were developed by applying embroidery with conductive yarns to 2 types of men's T-shirts and 2 types of women's leggings pants for outdoor activities and exercise purposes. LEDs were applied to the front and back of men's T-shirts and to the rear of the waist of women's leggings. Men's T-shirts were printed where the LEDs were to be applied, and inside, they were embroidered with conductive threads on the hot-melt fabric to be attached, and then connected with LED. Women's pants were embroidered on the elastic band, in the form of a sine wave that gives it ability to stretch, and finally the elastic band was hidden inside the waistband. The operation of the light sensor in the dark provided the ability to protect joggers from night drivers or cyclists. LEDs were activated when the wearer turns on the fashionable device on his/her shoulder by pressing it. It was able to reduce the risk of accidents by giving recognizability to vehicles, bicycles, and athletes approaching or passing by at night, and securing safe distance from vehicles, etc. Internal embroidery technology had the same flexible and lightweight functions as ordinary clothing products, making it possible to apply to tight-fit smart T-shirts or leggings pants designs.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.141-150
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• 2018

The purpose of this study is to investigate three-dimensional embroidery techniques for creating conductive fabric materials. Such techniques can increase the efficiency of energy harvesting by increasing the fabric's area during rubbing and brushing. We also investigate the fabric structure of the triboelectric energy harvesting type. Two experiments were conducted for this purpose. In Experiment I, the three-dimensional embroidery technique(satin technique, file technique) and the conductive fabric material(copper-based MPF, nickel-based MPF) were selected as the main variables affecting the efficiency of triboelectric energy harvesting from the human body. Four samples were fabricated according to a combination of two variables. In Experiment II, the harvesters fabricated by the three-dimensional embroidery method showing the highest efficiency were subjected to brushing processes and the voltages generated after processing were analyzed. As a result, in both conductive fabric materials, the pile embroidery fabric structure showed a higher efficiency than the satin structure. These results show the triboelectric energy harvesting principle, which is proportional to the charge density and the generated voltage. It can be seen that the structure of pile embroidery fabric with a large friction area is advantageous for increasing efficiency compared to satin embroidery-fabric structure with a relatively small friction area. Moreover, the energy harvesting efficiency after brushing was higher than that before processing due to the increased friction area, and it was found that the brushing method is advantageous for increasing the triboelectric-energy harvest.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.85-98
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• 2009

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yo tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery pattern has a high artistic value in that its shapes are diverse and splendid and each one has its own peculiar elegance. As for the research method, I examined the Yo tribe's history, culture, traditional costumes and design patterns through related books, research papers, internet sites, and etc. The results of the paper are as follows. The Yo tribe's costumes consist of a jacket, trousers or a skirt, an apron and a belt. Although the color of the costumes is all black, there are splendid embroidery decorations with the colors of red, orange, yellow, green and white on the chest or shoulder part of a jacket, the adjusting lines, cuffs, or a part of a trousers and aprons. The types of the patterns represented in the Yo tribe's traditional costumes are related to nature, ancestor worship, ethnic legends, history, religion, and agricultural lives. The method by which the Yo tribe expressed on their costumes is a "peach-blossom" technique, which uses cross-shaped embroidery with wrap and woof threads. Because it is not apt to express delicate and detailed patterns, the Yo tribe's patterns tend to show abstract and geometrical forms.

• Journal of the Korean Society of Costume
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• v.30
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• pp.153-166
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• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.