• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.6
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• pp.795-806
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• 2004

Unripe indigenous persimmons which contain rich tannins have been used as natural dye materials traditionally and have been using continuously for dyed clothes named Gal-ot in Jeju. Those persimmons were cheap and easy to use as dyes because of inedible and widely cultured in Korea. Persimmon juice dyes not only make fabrics brown-color but also give functional and hygienic properities such as stiffness, air ventilation of clothes, antibacterial activity, protectivity against ultraviolet light. However there are several serious problems which are ristriction of dyeing periods, longtime irradiation, uneven color and low color fastness etc. in persimmon juice dyeing. This study purpose to improve dye effect and method in order to enlarge useability of persimmon juice dyeing. Cotton fabrics were pad-dyed to 100% pick-up using padding machine after dipping in persimmon juice extracted from unripe persimmons indigenous from Jeju. It was possible and available to control pick-up rate. The color of dyed cotton fabrics by padding method was more even and repeatable than which by traditional hand method. Persimmon juice concentrations were 4 types of 10, 25, 50 and 100％. The more concentration increased, the more color deepened. UV Irradiation instead of sunlight was applied to color developing. Irradiation times were shortened till 1∼8 hrs. Same color values could be taken without water wetting which were required in sunlight irradiation. Tensile strengths of cotton fabrics pad-dyed with low concentration of persimmon juice decreased but recovered at high concentrations. Elongations(％) of cotton fabrics pad-dyed with persimmon juice were increased 1％ more than undyed cotton in sunlight irradiation. Drape stiffness increased upto double times as much as.

• Journal of the Korean Home Economics Association
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• v.23 no.3
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• pp.27-38
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• 1985

In KOREA, the history of weaving is so long even in prinitive, there are the traces of fabric emmision using Spindle already in the Neolithic age. And coming up to the period of Three States, becoming active of cultivation of fibers, it can be known the variety of kinds and the production of fine products by improvement of new method of weaving using weaving machine. In the period of shilla state, there is a record of making the fine fabrics with 28 bracts. But wearing of silks fabrics was limitted for only the nobility and common people were wearing native thick hemp clothes. Also in the period of Korea state, they were wearing the hemp clothes by cultivation of hemp. The good quality products were worn by the King or the nobility and women in KOREA made their best with whole efforts to pay to the authorities with woven products of hemp clothes, so in the 14th year of King Chung- Ryul, King prohibited the presentation of fine hemp clothes by his order. By the end of KOREA state, before the production, common people was mainly wearing the hemp clothes. Coming up to the Kingdom of Chosun the sericulture was promoted by establishment of the sericulture encouraging low. Therefore the working hours of women were highly increased. The products of Song-do, Chin-ju for cotton clothes, those of Han-san-the same now as in old times-for ramie clothes, those of Han-Kyung province and An-dong for hemp fabrics were estimated as the best qualities. And the hemp clothes of Kang-won province is not so fine but is very useful and famous for mourning clothes and summer clothes for the farmer. It is true that our history of weaving was begun with hemp as a continous and precious friend of common people during all the historical periods-even though for a while it went backward because of chinese silks.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.

• Textile Coloration and Finishing
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• v.21 no.4
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• pp.23-32
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• 2009

The objective of this study is to investigate the efficacy of leaf powder colorants as substitutes for traditional indigo dyeing. Leaf powder colorants were prepared by hot air($50^{\circ}C$) and room temperanrre($25^{\circ}C$) drying methods from fresh leaves. The presence of indigo in the leaf powder colorants was confirmed by UV/Visible absorption spectra. All the powder colorants showed broad absorption at 602 nm as same as synthetic indigo. Dyeing was done by reduction method with sodium hydrosulfite and sodium hydroxide. Leaf powder colorants produced blue color on silk fabrics, showing similar color to the one dyed traditionally with fresh juice extract. The powder colorants prepared at room temperature drying were more stable for long term storage than that prepared by hot air drying. Thus, the powder colorants prepared by room temperature drying was reduced and dyed in one-step process without sodium hydroxide in the dyebath for further investigate dyeing properties. K/S value of the fabric dyed without sodium hydroxide was much higher than one dyed with sodium hydroxide. Regardless of the addition of sodium hydroxide, rubbing fastness was fairly good showing above 4 rating. Fastness to dry cleaning and light of the fabrics dyed without sodium hydroxide were mote higher than that dyed in alkaline condition.

• Textile Coloration and Finishing
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• v.8 no.3
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• pp.8-15
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• 1996

Three pieces of cotton fabrics used for this study were exhumed in the Mt.Moo Deung near Kwang Ju in 1965. The fabrics were remains of Jang Heung Lim Si-the nephew's wife of General Kim Deok Ryeong. It was reported that Jang Heung Lim Si died in 1615. The cotton fabrics were classified into three, A, B and C, according to their color. The fabric A was inherent color of cotton, the fabric B was that of light brown and the fabric C was that of dark brown. The physical and chemical characteristics of the cotton fabrics were examined. In the meantime the construction of cotton fabrics and traditional dyeing of Yi dynasty were studied through various records. The results were as follows: 1. According to electromicroscopic examination, the lumen in the cotton fiber had not been developed enough, therefore the quality of cotton at that time was supposed to be not so excellent. 2. The results of chemical analysis indicated that: (1) While the copper number of the cotton fabric A was similar to that of bleached cotton, that of the fabric C was extremely high. (2) The amount of methylene blue absorption was much more than that of normal cotton. (3) The content of cellulose was less than that of normal cotton. (4) The degree of polymerization was less than that of normal cotton. From the results mentioned above, it was concluded that the cotton fabrics were oxidized slowly in the closed lime coffin for a long period of time. From this process of oxidization and deterioration, the degree of polymerization was decreased through depolymerization, and carboxyl groups were produced by the oxidization at reducing end groups. 3. It was confirmed that the cotton fabric C was dyed by the juice of immature persimmon. Thus, it was inferred that the large amount of copper number of cotton fabric C was derived from phenolic OH groups of tannins having high reducing properties in persimmon.

• Journal of Fashion Business
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• v.5 no.4
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• pp.158-175
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• 2001

The purpose of this study was to understand and improve the clothing habits and the apparel industry of North Korea in preparation for the reunification of South and North Korea. For this study, literary data, reports, periodicals, interviews and internet data of the two Koreas were reviewed. North Korean clothing habits used to be monotonous and uniform but nowadays people's clothes have become somewhat brighter in color and more diverse in design than before. In particular, liberal and individual dressing habits appeared among the privileged classes. When taking part in national events, women have to wear the traditional Korean costume, Hanbok, while men wear business suits for formal wear. In general, men don't wear Hanbok. Students have to be in uniforms but blue jeans, T-shirts with English logos were popular among them reflecting their sensitivity and openness towards western cultures. The brides usually wear pink Hanboks and the bridegrooms wear black business suits for their wedding. North Koreans also wear Hanbok on national holidays like South Koreans. Clothing is the most important item in the trade of process commission between North and South Korea. Trading items are mid to low end men's clothing for the most part due to less emphasis on fashion in the North. The processing is indirect trade and composed of sample making and contracting, sending out materials and production, carrying in goods and setting accounts. To activate South-North trade, establishment of infrastructure, stabilization of shipping, reducing high costs of distribution, building direct communication system by setting up office in a neutral zone and simplifying procedures in applying for the South and North Korea Economic Cooperation Fund. On the other hand, clothing and textiles education is carried on at art colleges, light industries colleges and commercial colleges in Pyongyang. Clothing institutes which study Hanbok and Western clothes, are installed in each city and province. Graduates who majored in clothing and textiles are posted in institutes or apparel factories. Their job is designing, patternmaking and sewing for their customers. Most of them are women and in good state of economic conditions. The North Korean clothing industry has been the core national industry that has developed based on overseas demand form the mid 1980s. The standard is that of South Korea in the early 1980s. In 1999, trade of North Korean textile products with trade counterparts such as Japan and China was $1.3 million in exports and $1.27 in imports. Of this amount the export takes up 25.4% of the total exports in North Korea. However, fundamentally even in sectors that are irrelevant to politics such as the fashion clothing industry, trust between the South and North should be a prerequisite. Only through this can exchange between North and South and economic cooperation contribute towards the reunification.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1730-1736
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• 2006

To utilize hanji for fashion accessory efficiently, dyeability of Hanji should be improved. Though Hanji mostly consists of cellulose such as cotton and ramie, also has various impurities, and has the different internal and surface structure from textile materials. Because of them, Hanji might show different dyeing behavior. As physical properties of Hanji are reduced in wet condition, dyeing process would damage the physical properties of Hanji Therefore, in this study, dyeing properties of Hanji using direct dye were examined in comparison with cotton and ramie. Effect of dyeing on tensile strength, and bleeding of direct dye by water from Hanji, colorfastness to light were also estimated. While Hanji showed the maximun dye exhaustion at $25^{\circ}C$, cotton and ramie showed those at $60^{\circ}C$. Tensile strength of Hanji reduced after Hanji was dyed. When Hanji was dyed at $25^{\circ}C$, the more bleeding occurred than at higher dyeing temperature. Hanji which had higher K/S values were bled more than those had lower K/S value. Colorfastness to light of Hanji dyed with direct dye was not inferior to those of cotton and ramie.

• Journal of Conservation Science
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• v.32 no.2
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• pp.141-154
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• 2016

The gilt-bronze decorated bamboo mudguards with heavenly horse design excavated in 1973 at Cheonma Tomb of Shilla are the unprecedented relics in Korean history as it has its original structure. Although the bamboo mudguards were excavated in not only Cheonma Tomb, but also in Geumgwanchong and Geumryeongchong, all of them remains into pieces. In addition, there are no exact data related with its structure and manufacturing technique. The report deals with the manufacturing technique of the bamboo mudguards with heavenly horse design excavated in Cheonma Tomb through the naked eye's observation, X-Ray Fluorescence, and Transmission X-rays analysis etc. Bamboo mudguards basically have the three divided structure with central-focus structure of a radiation style. And the mudguards consists of Bratticing gilt-bronze, fabric, and bamboo plates together, as ornamental fringe of 4 plates. The surface of the gilt bronze plates was decorated with a variety of workmanship and pendant. Bamboo plates have a waved pattern by using about three hundred bamboo bark. Two types of textiles were mainly found in the textile plates, and the leather were partially found. In order to combine all plates together, gilt-bronze bottonhead, pendant decoration, and ornamental fringe were used. It would be helpful to study bamboo mudguards during 5th-6th centuries in Shilla period and basis investigations of Geumgwanchong and Geumryeongchong excavations.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.13-28
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• 2012

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1737-1746
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• 2006

The purpose of this study is to present a concrete image of the ideal beauty as shown in era preceding 1945 that effects the shaping of our aesthetic values; by analyzing its characteristics through the covers of women's magazines of that period, this research aims to promote the understanding of beauty of the human body. The scope of my research extends throughout the collection of women's magazines stored in the National Library and the Korea Magazine Information Center. The gathered research materials are: 5 kinds of Shin-Yeo-Sung (신여성), 51 kinds Yeo-Sung(여성) and 30 kinds of Ga-Jung-Ji-Woo(가정지우). The result of the research could be summarized as the followings. Before the 1920's in response to the violent opening, there was a trend of sticking to the traditional standard. In the 1920's, the prevalent images of women were meek and fragile. Japanese standard of beauty was explicitly indicated. In the 1930s, as Western movies started to be shown to the general public, western features were idealized and furthermore intelligence was required as a further condition. In the 1940s, preparation of the war led to encouragement of images of motherhood and natural beauty, and resistant to this trend led to pseudoclassicism.