• 한국의류학회지
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• 제30권12호
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• pp.1730-1736
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• 2006

의복재료로서 한지를 더 효율적으로 사용하기 위해, 직접염료를 이용하여 한지를 염색하였다. 한지의 주성분은 면, 마와 같은 셀룰로오스이지만, 많은 불순물을 포함하고 있고, 섬유제품과 내부구조와 표면구조가 다르므로, 다른 염색거동을 보일 수 있다. 또, 물을 흡수하면 한지의 물성은 크게 저하하므로, 염색 과정에 의해 강도가 변화될 가능성이 있다. 따라서, 본 연구에서는 직접염료를 이용한 한지의 염색특성을 셀룰로오스 섬유인 면, 마와 비교하여 고찰하고, 염색에 따른 인장강도 변화를 살펴보았으며, 염료의 물에 의한 블리딩 및 일광 견뢰도를 평가하였다. 직접염료로 한지를 염색할 때, 한지는 $25^{\circ}C$에서 최대흡진율을 보인 반면, 면과 저마는 $60^{\circ}C$에서 최대흡진율을 보였으며, 염색 후, 한지의 인장강도는 감소하였다. 낮은 온도에서 염색하였을 때 블리딩이 컸고, 염색한 한지의 K/S 값이 크면 블리딩 이 커지는 경향을 보였다. 직접염료로 염색한 한지의 일광견뢰도는 면, 마에 비해 떨어지지 않았다.

• 한국의류학회지
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• 제37권5호
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• pp.676-690
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• 2013

This study explored the historical meaning and the present practices of Indonesian batik. Relevant literature was reviewed first; subsequently, interviews and observations were conducted to achieve the purpose of the study. Historically, batik was an integral part of the Javanese court art as well as a representation of each regional culture. Batik also became an important means to reveal a national identity in postcolonial Indonesia in the 1950s. There exist two types of traditional and modern type batik in present Indonesia. The traditional batik refers to batik tulis, batik cap, and the combination of tulis and cap. The modern batik is comprised of a batik print as well as the combination of the print and the traditional batik. The traditional batik was practiced at the small-sized village batik workshops and in the government batik research center. A few batik workshops often co-operate with modern screen print factories; however, the use natural dyes for the dyeing of batik cloth is rarely found. Batik was used for varied objects made from fabric materials that include clothing, small fashion items, living supplies and furniture, as well as fine art such as paintings and wooden crafts.

• 대한가정학회지
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• 제20권2호
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• pp.37-43
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• 1982

The white color is the main characteristics of the traditional color of clothes. From the historical point of view, the Korean's pattern of wearing Baik-Eui can be found its origin from many people of North-East Asia in ancient time. The beginning of wearing Baik-Eui in Korea was at the age of tribes, and it was delivered to middle age, later on, to modern age near the end of Yi Dynasty. The other charactics of the traditional colors. are summarized as follows: 1. Prefered light color to dark color and light blue was noble and worthy. 2. The kinds of color were not various. 3. Color was native and pure not including grey or other colors. From the economical point of vie, the first thing is that Baik Eui was primitive in ti's color Though some say that wearing Baik-Eui is considered as a kind of worship of the Sun, yet we can also find that the every reason of it is that we had little dyes at that time. Especially the reddish dyeing materials were in short supply, so that had been imported mainly from Japan.

• 한국의류학회지
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• 제31권8호
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• pp.1252-1261
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• 2007

The purpose of this study was to grasp the utilization of traditional Korean Patterns used for fashion cultural products. To achieve this purpose, this study examined the range of fashion cultural products through literature review, previous researches, and market surveys and analyzed the situation of fashion cultural products and the kinds, expression methods, expression techniques, and repeat styles of utilized patterns. The analysis results are as follows. First, in the use of traditional pattern, the most frequently-used fashion cultural products were small and inexpensive accessories, followed by fashion apparel, miscellaneous goods, and living cultural goods. Second, the most frequently-used traditional patterns were plant patterns, especially flower patterns. The next frequently-used ones were mixed patterns, especially in the mixture of flower and letter patterns, and $cloisonn\'{e}$ and flower patterns. The next frequently-used traditional patterns were animal patterns(especially butterfly patterns), followed by geometric patterns, lucky omen patterns, and letter patterns. In the expression methods of used patterns, most products except handicrafts preferred simplified patterns to real patterns. Finally, in the expression techniques of traditional patterns, the most frequently used technique was traditional embroidery, followed by the use of weaving fabrics such as fine gauze and brocade which are used for Hanbok. Also, transfer dyeing which is one of printing techniques, DTP(digital textiles printing), a mixed technique which adds embroidery to weaving fabrics, hand-painting, and a gilt technique were used. The results of this study suggest that most fashion cultural products except few designers' works attached weight to some specified patterns and expression techniques regardless of the characteristics of products since there is little understanding of a variety of patterns and are few researches and development on expression techniques.

• 패션비즈니스
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• 제19권2호
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• pp.149-170
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• 2015

The purpose of this study is to link the Yi tribe's traditional patterns to bag design. Yi tribe is a minor ethic group in China, whose traditional pattern has a high artistic value in that its shapes are diverse and each one has peculiar elegance. Traditional patterns are also indicative of spiritual dept or symbolic stories, rather than being indicative of simple formative beauty. Thus, reorganizing these patterns and applying them artistically to design- in terms of resource utilization- would be significant. Out of all of the Yi tribe's traditional patterns, the cherry blossom_(马樱花), water wave_(水波), sky father and earth mother_(天父地母), pomegranate blossom, triangle, sheep' horn, wisteria vine_(藤条), square and diaper_(四角菱形) and the zigzag_(曲折) patterns were chosen for use during the development of a bag design. This study is based upon document study, including research papers and internet web sites, the point of which was to investigate the form of the traditional patterns, and the creative design process. The design procedure includes these sub-processes: selection, arrangement and color-scheme. In the selection process, the form of the pattern was edited using Adobe Photoshop. The pattern was freely arranged to reflect various emotions. In terms of the color-scheme of the patterns, the colors used by Henri Matisse(1869-1954) in his work were selected and adapted when dyeing the patterns. Subsequently, the final design resulting from these design development processes was applied to the actual production of the bag by using canvas fabric and leather, after which the bag image was proposed using computer simulation. In conclusion, six bag designs were created using traditional patterns from the Yi tribe. Through the processes explained above, this study confirmed that traditional patterns could be widely applied as design motifs and that more sophisticated, modern, and creative designs could be developed based on traditional patterns.

• 한국의류학회지
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• 제19권1호
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• 한국의류학회지
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• 제33권8호
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• pp.1203-1214
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• 2009

The theory of household arts and practical acts are two traditional mainstream topics of official South Korean secondary home economics education. The clothing and textile education within the Secondary School Home Economics Textbook (1948) is various and practical. The first year textbook discusses the symbolism and maintenance of uniforms that provides information on the characteristics of cotton. Clothing and textiles are covered in 26 pages out of the 76 page book. The second year textbook includes the theory of color and form, along with the characteristics of flax and silk. Clothing and textile education is covered in 33 pages out of the 97 second year textbook. The third year textbook deals with the characteristics of wool, manufactured fibers, cross weaving, removing stains, clothing arrangements, and equipment; 5 chapters (56 pages out of 137) are spent on clothing and textiles. The fourth year textbook introduces the history of clothing, laundry principles, dyeing, bedclothes, and bed accessories; 4 chapters (63 pages out of 125 pages) are spent on clothing and textiles. The Secondary School Home Economics Textbook (1948) is highly extensive and profound in depth. It is comparable with modern college or specialized high school level clothing and textile education in terms of clothing materials, clothing maintenance, color theories, and dyeing.

• 복식
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• 제39권
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• pp.91-98
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• 1998

This paper is to study the development background of casual Korean clothes through the consideration of the style change of traditional clothes. The purpose of this study is to present the method for the settlement of casual Koran clothes as everyday clothes and to present the direction which casual Koran clothes follow in the future. The development. The development backgrounds of casual Korean clothes are as followings. 1) the self-awakening for the importance of national culture. 2) practical aspects 3) the change of life style accompanied with economic growth 4) the development of mass media Casual Korean clothes in the future should be studied and developed in following aspects. 1) practical aspects by developing design for easy activity 2) environmental aspects by natural dyeing which is harmless to human body and the nature 3) emotional aspects by regarding traditional beauty as importance 4) color sense aspects according to scarcity of as form change of the Korean clothes 5) production aspects by mass production of ready-made clothes not order clothes 6) diplomatic aspects as folk costume which is corresponding with international trend 7) scientific aspects by developing many patterns according to various bodies 8) economic aspects by low price through the mass cultivation of natural materials 9) fashionable aspects by subdividing traditional clothes to ceremonial clothes, everyday clothes, working clothes.

• 복식
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• 제56권6호
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• pp.87-95
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• 2006

This is a study regarding the development of Cultural Products with Applied Koguryo Wadang Patterns. The objective of this study is in developing unique Cultural Products which combine traditional Korean images with modern feel by utilizing Koguryo Wadang patterns. The among Korean traditional patterns which implicit the sense of beauty and modeling, chose and investigated the Wadang patterns of the Koguryo. And from it, studied about the originality and characteristics of the Koguryo Wadang patterns. In this characteristics of the Wadang pattern, the representative lotus design pattern was based and reorganized to fine the probability of the modern expression using traditional patterns. After design plans were made for each works, natural dyes were used to dye(dip dyeing, printing) the fabrics(cotton:Kwang-mok) by theme. Approximately 16 pieces of Cultural Products that can be used in daily life were created using Koguryo Wadang patterns, including Traffic or credit card cases, Name card cases, Pouches, CD cases, Cushions, Bags, Purses, Vest, Muffler. In addition, the increased quality of the products will be a competitive edge in the world market where products compete with no national bounds.

• KSBB Journal
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• 제28권5호
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• pp.295-302
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• 2013

Indigo is utilized in various industries including textile dyeing, cosmetics, printing and medicinal products and its reduced form, leuco-indigo, is mainly used in these process. Chemical reducing agent (sodium dithionite, sodium sulfide, etc.) is preferred to use for the formation of leucoindigo in industry. In traditional indigo fermentation process, microorganisms can participate in the reduction of indigo and thus it has been known to reduce environmental pollution and noxious byproducts. However, in fermentation method using microorganisms it is difficult to standardize large scale production process due to low yield and reproducibility. In this study, we attempted to develop the indigo reduction process using microbial flora which was isolated from naturally fermented indigo vat or deduced by metagenomic approach. From the results of library analyses of PCR-amplified 16S rRNA genes from the traditional indigo fermentation vat sample (metagenome), it was confirmed that Alkalibacteriums (71%) was distinctly dominant in population. Some strains were identified after confirming that they become pure culture in nutrient media modified slightly. Four strains were separated in this process and each strain showed obvious reducing ability toward indigo in dyeing test. It is expected that the analyzed results will provide important data for standardizing the natural fermentation of indigo and investigating the mechanism of indigo reduction.