• Fashion & Textile Research Journal
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• v.9 no.4
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• pp.445-449
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• 2007

The results of warmth retaining, heat transfer and compressive elastic recovery of the five kinds of bedspread fabrics, which were produced from packing weft of 2700 denier and 3600 denier batt yarn treated with raw material of Polyester $150^D$/48 DTY, are as follows: 1) 3600 denier packing weft showed lover count in compressive elastic recovery than 2700d packing weft, so it took longer time to recover. 2) When packing weft of the same count is used, a sample of packing weft with higher density showed lower recovery. 3) It took 2700d packing weft 30min to get approximately 98% recovery in temperature $30^{\circ}C$. But, 3600d packing weft stayed under 98% recovery in the same temperature. Considering only the result of compressive elastic recovery, we should use 2700d packing weft. 4) The higher the density of packing weft is, the higher warmth retaining becomes. Although sharp increase appeared until 5min, equilibrium was kept without any increase after that time. 5) When 2700d packing weft was used, the maximum warmth retaining was approximately 60% and 64% in the conditions of density 12(thread/in) and 22(thread/in) respectively.

• Journal of Fashion Business
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• v.15 no.4
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• pp.110-121
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• 2011

As car seat is the closest part between driver and rider, the interest of the security and comfort of the seat is increasing. This research discovered the best condition for dyeing and finishing to produce a fabric for car seat and also developed the design of fabrication to give the feeling from such a finishing. The best condition of coating finishing solution is aqueous PU 65%, dye resist reagent 20%, water 12%, thicker 3%, and knife thickness 2mm, tenter temperature $170^{\circ}C$, tenter speed 35yard/min, viscosity 12,000cps and stirring time 100kg * 30min. According to the processing time of knife coating upon stirring the change of resin and the uneven of coating quantity was shown. This problems will be solved by means of automatic temperature control apparatus for resin and sealing device through a coming research.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.751-765
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• 2011

The purpose of this study is to apply the Trencadis images in Antony Gaudi's work to a design motive and thus provide a new concept for a knitwear design by combining double-knitted fabrics with patchwork applique, taping, stitching and quilting. This study examines the bibliographic text and precedent research related to Antony Gaudi and his works, and analyzes the historical background and formative and stylistic characteristics of Trencadis as it appeared in Gaudi's architectural works. Also this study also examines the characteristics of knitwear and knitting theory while exploring the formative elements and the combined techniques used in modern knitwear design through fashion magazines, medium images, and online sources. The results are as follows: First, Gaudi's work that applies a Trencadis technique has the characteristic of being creative, organic, and environmentally friendly. And in addition, its colorfulness inspires modern fashion design. Second, computerized knitting has been practiced in various ways and the fabrics knitted by both double-knitting jacquard and computerized knitting machines provide a new direction the creation of knitwear. A computerized knitting machine is especially effective for pictorial expression, and is suitable for showing the natural curve of the human body due to its sophistication. Third, as a result of applying a combined technique to the knitting of various fabrics, a combined or fusion design, which is a recent megatrend, is very effective for the design of knitwear while increasing its aesthetic value. Moreover, utilizing techniques that combine patchwork applique, taping, stitching and quilting will create higher value in knitwear. Lastly, with a project of applying combined techniques in the creation of knitwear, designers can become much more creative while taking their imagination much further.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.141-148
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• 2007

As Backje(B.C. 18-A.D. 600) is the whole area of Chungcheong, Jeonra, Kangwon and Gyeongsang provinces, the son of the founder of Goguryeo, King Onjoe, making the castle Wu'irae capital of the nation, founded Backje. The capital was transferred to Hansung by B.C. 5 and then to Gongju by A.D. 475. Backje governed the east of China and the northeastern coast. Due to the effect of Chinese culture there are remarkably Chinese cultural elements in dress and its ornament of Baekje. Therefore on the side of cultural part, the noble culture was formed more polished than that of Goguryeo, which affected the culture of dress and ornament. And also there were class differentiation noticeably. Baekje created splendid culture and affected the culture development of Shinra and Japan. The motive of culture creation could be the top of three countries in the foreign trade because there were geographically the widest vast plain and coastline which stretches out from north to south. Although there haven't been many materials about the cultural heritage and records more than other countries, through the modern visual point its design is fresh and more elegant those of other countries. But the fact is that there are few materials related to Baekje. What is worse, there rarely remains all original form and most of them are broken and lost. According1y, we cannot understand not only an original form of Baekje culture and but also the meaning included in it. It goes without saying that there are few materials about the clothes and fabrics. As understanding the culture of Baekje itself is insufficient, a culture enterprise utilizing it - to improve both the added value and economical achievement while combining the latest culture resources with other fields - hasn't been successful. In this study, the purpose is to improve economic power through commercialization and industrialization of the sources of the culture of Baekje. By reanalyzing a form and an image of Baekje relics, it is designed with new motif and modem preference on the condition of our peculiar cultural heritage. And while using this motif with Jacquard pattern, we made it possible to be applied to real life such as interior trinkets, etc.

• Fashion & Textile Research Journal
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• v.24 no.5
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• pp.557-566
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• 2022

This study aims to investigate Jinju silk companies, production items, and silk industry supporting projects from 2019 to 2021 in order to discuss the current status of the silk industry. The following are this study's methods: First, a list of Jinju silk companies that have been operating for the past three years (2019-2021) was prepared to investigate the current status of the Jinju silk industry. Second, an investigation was conducted into the representative products produced in Jinju over the past three years; this investigation was conducted using direct interview. Third, an investigation was conducted on the projects that supported the Jinju silk industry over the past three years, and the list of members of the Gyeongnam Textile and Jinju Silk Industry Cooperative Association-a facility of Gyeongsangnam-do Province, the Jinju City Hall brochure (2019), and the SMINFO(SMall business status INFOrmation System) were utilized for this purpose. The following are the results: First, Jinju silk companies are classified into four categories, namely weaving, dyeing, twisting, and designing companies. According to data from 2021, 83% (34 of 41) of silk companies were weavers. Second, the demand for solid fabrics has increased over the past three years. The demand for patterned jacquard fabrics in producing Hanbok and Western-style clothing has decreased. Third, support for the Jinju silk industry could be classified into five categories: support for the operation of silk research institutions, support for the diversification of Jinju silk, support for the promotion of Jinju silk, support for the operation of silk manufacturers, and others.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.157-165
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• 2005

The purpose of this research is to investigate the actual conditions of the manufacturer's design processes. Questionnaires were sent out, and 57 interviews were used as research methods including designers, programmers, and merchandisers working for a knit manufacturer in Seoul, followed by a frequency analysis using SPSS 12.0. The results are as follows: knitted fabric goods were the top choices in casual wear. Brand image depended on 'elegance', 'modernity', and 'romanticism', among other lifestyle pursuits. The distribution ratio of the 'basic' and the 'trendy' knit was at 3:7 or 7:3, while the ratio of 6:4 or 4:6 was more common. Knit structure was proven to be the most important factor in the changes in designs. Style and yam ranked second and third, respectively. In addition, details (embroidery and beading), color, pattern, and processing were among the other factors, in order of importance. Based on the difficulty in designing and manufacturing knitted fabric goods, 'manufacturing cost:' 'lack of a manufacturing facility for small production,' and 'limited delivery time' were among the reasons cited in the questionnaire. These results appeared to have been caused by small-scale manufacturers or small-scale manufacturing facilities that made small volume production difficult. The results of the interviews on knitted fabrics that were most frequently used and with the highest sales volumes showed that plain, lace, links & links, miss, and 1:1 rib were ranked accordingly for S/S use, while jacquard, cable, 1:1 rib, links & links, milano, plain, and half cardigan were ranked accordingly for F/W use.

• Archives of design research
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• v.14 no.2
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• pp.163-174
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• 2001

William Morris(1834-1896) was the most versatile and talented of all British nineteenth century polymaths. Since his death over one hundred years ago his achievements as an artist, designer, manufacturer, shop-keeper, poet, author, publisher, printer, collector, teacher, conservationist, political activist and environmentalist have influenced the lives and work of people throughout the world. Moris is now best known for his attractive and colorful patterns. The decorating firm of Morris, Marshall, Fault & Company(Morris & Company after 1875) was established in 1861. Over the years it produced works, ranging from stained·glass windows and furniture to tapestries, carpets and printed and woven fabrics, that had great influence on the course of British design. His earliest experiments with the craft were amateurishly worked embroideries made for his own use. Before long, Morris began to produce textiles on a more commercial basis. In order to control production properly, Morris set about learning the various textiles techniques, first dyeing and blockprinting, hand-loom jacquard and eventually, carpet and tapestry weaving. This extraordinary involvement with the practical side of manufacture separated Morris from all other designers of his time and contributed in no small way to his success. Morris's designs for textiles, embroidery, dyeing, woven, carpet and tapestry were commercially produced, that are most universally admired and frequently copied today. These have a timeless quality arising from the designers respect for and knowledge of the technique. Of equal importance was his love of nature, evidence of which can be seen in even the smallest details of each of his patterns.