• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.221-228
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• 2017

This paper aimed to find out the eco-friendly approach enabling to directly print patterns and dye colors on fabrics using leaves of plants. In the research process, I found out the 'eco-printing' which could effectively express unique colors and patterns of plants. While eco-printing can design the patterns and colors of plants in nature using the leaves of plant(Eucalyptus), it is difficult to implement because it is not systematically and academically investigated including the dictionary definition in Korea until now. Thus, I tried to define the eco-printing and natural dyeing using leaves or flowers of plants enabling to get natural patterns and colors and do the experimental research and production using the leaves of Eucalyptus. The leaves of Eucalyptus were arranged on a wool scarf and a silk scarf, tied and applied pressure to them and made pigments penetrate into fabrics by heating or steaming them. This approach is to directly print the patterns using the shapes of plants on fabrics unlike the existing approaches dyeing by extracting dyeing solution from natural materials. Furthermore, the change of colors was attempted by using the color fixers. In accordance with the results of this experimental research, the scarf design differentiated from the existing products could be acquired. It was identified that eco-printing could induce the color variables depending on the conditions of each material and environment. For improving the color variables, various kinds of fabrics and divers kinds of materials which can be easily acquired in a daily life will be investigated and compared. Furthermore, it is expected that the experimental research and production techniques on eco-printing be utilized when starting natural dyeing and the scope of natural dyeing be more expanded.

• Journal of Fashion Business
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• v.14 no.2
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• pp.138-150
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• 2010

In the dyeing of cotton and silk fibres using Caesalpinia sappan, the effects of pH changes of the Caesalpinia sappan dye liquor on the color were examined. In order to adjust the pH of the Caesalpinia sappan dye liquor, Schisandra chinensis extract and carboxylic acid were used for acidic condition, lye and the NaOH aqueous solution were used for alkaline condition. By introducing the dyeing method of pH adjustment, firstly, the effect on the reddish color inherent to the Caesalpinia sappan was examined. At the same time, the manifestation of the yellow color, which affect the manifestation of the red color greatly, was examined in detail quantitatively. By dyeing the cotton and silk fabrics, the inherent relationships established between the pH hanges and the fibre characteristics were sought to be examined.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.270-282
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• 2009

The purpose of this study was to inquire into lounge wear and Jeff Koons and to design lounge wear in which the works, Balloon Dog(1994$\sim$2000) and Hanging Heart(1994$\sim$2006), of Jeff Koons was applied. The concept of design was appealed as sensuousness, activeness, and comfort. The target of design was teens and those in their 20s. Knit or woven fabric in 100% cotton/silk and cotton blended was selected. The design had fitted silhouette and the items were bras, panties, pajama pants, shorts, robes, slippers etc. Adobe Illustrator CS2 and Adobe Photoshop CS2 program were used for the design. In the lounge wear in which Balloon Dog applied, main color was red, blue, and green with pale tone and frills and pleats were selected for the details. Elastic blended fabric was used for the comfortable. Variety application of color and patterns were conducted for rhythmical visual. In the lounge wear design in which Hanging Heart applied, main color was also red, blue, and green with pale tone. Halter neck and robes were selected for the sexy looking. Cool and soft feelings were pursued through use of cotton and silk blended fabrics or stripes patterns. The result of this study may give valuable information to merchandisers and designers who develop lounge wear. It may also provide designers who use computer program such as Adobe Illustrator and Adobe Photoshop as design tools with useful examples.

• Journal of Sericultural and Entomological Science
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• v.41 no.3
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• pp.185-195
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• 1999

This study was carried out to improve the skin care property of the polyester fabric by finishing with sericin. It was known that skin care function, anti-oxidation, anti-tyrosinase activity and anti-elastase activity can be achieved from sericin finish. But, the moisture regain of the finished fabric was measured simply, because the major cause of the discomfort from polyester fabric has been anounced to be wetness. The effects of various treatment conditions on the properties of the finished fabric were measured, and obtained results were as follows: 1. The moisture regain at 40$^{\circ}C$ 90% RH were increased with the sericin uptake increasing. while it was not significant for the effects on the moisture regain depending on the treatment conditions like the degree of polymerization and treatment concentration of the binder. The moisture release of the fabric having sericin uptake 1%, 2% was faster than non treated fabric. The change of the moisture regain of the finished fabric from 40$^{\circ}C$ 90% RH to room temperature was 4∼5 times higher than that of knitted cotton fabric. 2. The frictional static charge was decreased with the degree of polymerization of the binder increasing. While the sericin uptake and treatment concentration of the binder were not significant. 3. The whiteness value of the fabric was slightly decreased by finishing with sericin and binder. In that cases, W values of the finished fabrics were above 90 while that depending on the degree of polymerization of the binder was not significant. 4. The major cause of the yellowness of the finished fabric was proved to be catalyst. The yellowness of the finished fabric with sulfur containing catalyst was lower than that with amine group containing catalyst. 5. The effects of the treatment concentrations of the cross-linking agent, catalyst and drying time on the wash durability were not significant.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• Journal of the Korean Society of Costume
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• v.25
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• pp.183-199
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• 1995

Among many different approaches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by including political , militarial , economical , cultural , and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes according to peoples social status. Generally people in high social status wore clothes with detailed decorations invariety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physical activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed it role to affect the clothing styles in Kokuryo. Based on old studies of costume, this study focused on people's life styles that included hunting and weaving . Hunting clothes were differentiated by decorating wit feathers . Jowoguan(조우관) is one of the examples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect , this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however men and women wear were claryly distinguished. Unlike other clothes that were restricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume . Monks wore black clothing (내의) that was influenced from China and the Western Regions(서역). To emphasize their religious power, Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of fire and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• Journal of the Korean Society of Costume
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• v.25
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• pp.185-199
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• 1995

Among many different approches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by in-cluding political, militarial, economical, cul-tural, and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes accord-ing to peoples social status. Generally people in high social status wore clothes with detailed decorations in variety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physi-cal activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed its role to affect the clothing styles in Kokuryo. Baseed on old studies of costume, this study focused on people's life styles that included hunting and weaving. Hunting clothes were differentiated by decorating with feathers. Jowoguan is one of the exemples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect, this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however means and womens wear were claryly dis-tinguished. Unlike other clothes that were re-stricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume. Monks wore black cloth-ing that was influenced from China and the Western Regions. To emphasize their religious power. Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of five and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• The Research Journal of the Costume Culture
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• v.13 no.1
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• pp.102-120
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• 2005

Three Jang-Ue's and eleven drapery were investigated in the excavated costume in Ue-Ryeong, Gyeong-Sang-Nam-Do. Three Jang-Ue's have three different colors. the length, the width, and the wide of quilting are different as well. The outer collar of a coat is a double collar while the inturned collar is a single collar. In case of Dark blue and Pink Jang-Ue. The large section of cloth forming the body of a Korean coat is getting narrower while the reinforcing cloth strip is getting wider as the time is passing by. All the three Jang-Ue's have the different handling methods of a attached to the top border of a Korean coat, and Pink Jang-Ue doesn't have a attached to the tip border of a Korean coat. The handling method of the hemline are all different. And the handling method of the cuffs are all different. The silk is main in the woven goods, partly hemp, mixed fabrics and cotton. Especially complex gauze with supplementary wefts that were found unusually in Cho-Sun Dynasty are very import to study the complex gauze. The fond relics of the Jeon-Ui Lee family reveal various formational methods and specific characters of the excavated costume. There fore these that bring the Jang-Ue shape and the textile's feature in Gyeong-Sang-Nam-Do region, from 16th to 17th are very valuable.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.147-168
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• 2017

This study examines the types and characteristics of women's garments excavated in the early Joseon Dynasty before 1592. The study sorts out headgear, jacket, skirt and trousers, and coats from the historical texts in the early Joseon Dynasty and excavated women's wears in the fifteenth and sixteenth centuries, and analyzes their textiles and patterns. The Joseon women's garments convey several features. They are wide across the chest and square shaped collar with virtually straight sleeves. While their breast-ties are extremely little for the size of clothes, they do not have any inner-tie. They have broad and short dongjeongs which seem to be hard to be adjusted. There are a variety of headgear. Jang-Jeogori slit down in both sides. The Jeogori after the seventeenth century transformed a more practical form of a fitting dress to an individual body in comparison with the sixteenth jeogori. It is identified that the fabrics in the early Joseon period were woven more diversely and colorfully than the late Joseon period. Most of the excavated fabrics in the sixteenth century were in silk. Materials for adornments before 1592 were not much diverse and their designs mostly contained patterns of lotus flowers, patterns of cloud and treasures with oblique lines. The colors are mainly brown, navy and green. The Joseon women's clothes were comprised of skirts with folded hem, coat with round collars, wide leg pants, Jangot, long-sleeved coat with folding collars, and quadrangular pieces of cloth in various sizes, or mu and so forth. Joseon women's clothes, like men's wears, partake of active functions in their headgears, wide leg pants, styles in short front and long back, and coat with round collars.

• 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.