• The Research Journal of the Costume Culture
• /
• v.23 no.3
• /
• pp.439-453
• /
• 2015

This research is regarding Park Ki-Jong's Western-style court costume and emphasizes the shape and style peculiarities of Western-style court costumes in the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan. Park Ki-Jong's frock coat was made during the period of the established law from 1900 to 1910. 1) The brand was ASADA TAILOR from Kyung-Sung. 2) The shape was long at the front and back, and it featured a picked lapel and double breast with six buttons to fasten and two buttons for decoration on the upper part. 3) The frock coat's materials were black wool fabric and black ridged silk. The lining's material was black plain silk and the sleeve's lining was white with blue striped silk. 4) The front separated the upper and bottom parts. The bottom was composed of a one-piece A-line skirt that continued from the front to back. The top of the back was separated by the princess line and the center-back seam was also separated with a vent. However, the center-back of the waistline was not separated, and it continued to one piece. The sleeve shape was a two-piece sleeve style with a phony vent and two wrapping buttons.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.46 no.3
• /
• pp.390-406
• /
• 2022

This study aims to establish the optimal environmental conditions for storing textile products. Four textile products (cotton, wool, nylon, cotton/polyurethane) were used to produce experimental fabrics according to artificial contamination and washing conditions. Each fabric was subjected to three environmental conditions (A: 20-25℃/20% RH, B: 20-25℃/50% RH, C: 30-35℃/65% RH) for 4-12 weeks. Changes in textile characteristics include tensile strength, wrinkle recovery rate, and odor intensity. Results show that the change in tensile strength for the four test fabrics slightly decreased with a storage time of 4 to 12 weeks. The wrinkle recovery rate of the fabrics was the lowest under the C condition. UV exposure causes a substantial decrease in the tensile strength of the textiles. The change in odor characteristics was the highest for the odor intensity in the C condition. For storing textile products for sustainable management, it is desirable to maintain a temperature of 20 to 25℃ with a relative humidity of 50% RH or less and to provide ventilation in an enclosed storage space that can also block UV rays.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.2
• /
• pp.80-98
• /
• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Science of Emotion and Sensibility
• /
• v.5 no.2
• /
• pp.23-28
• /
• 2002

The purpose of this study was to classify apparel fabrics according to rustling rounds and to analyze their transformed colors and mechanical properties. The rustling sounds of apparel fabrics were recorded and then transformed into colors using Mori's color-transforming program. The specimens were clustered into five groups according to sound properties, and each group was named as ‘Silky’,‘Crispy’,‘Paper-like’,‘Worsted’, and ‘Flaxy’, respectively. The Silky consisted of smooth and soft silk fabrics had the lowest value of LPT, $\Delta$f, ARC , loudness(B) and sharpness(z). Their transformed colors showed lots of red portion and color counts. The Crispy with crepe fabrics showed relatively low loudness(z) and sharpness(B), but diverse colors and color counts were appeared. The Paper-like showed the highest value of LPT, $\Delta$f and loudness(z). The Worsted composed of wool and wool-Like fabrics showed high values of LPT, $\Delta$f, loudness(z) and sharpness(B). The transformed rotors of the Paper-like and Worsted showed the blue mostly but color counts were less than the others. The Flaxy with rugged flax fabric had the highest fluctuation strength, and their transformed colors showed diversity.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.2
• /
• pp.163-173
• /
• 2011

The objective of this study is to examine the current status of manufacturing formal knit jackets for middle-aged women. Fifteen manufacturers specializing in formal knitwear brands were chosen as the study subjects, and interviews and questionnaires were used with patterners and designers. The questionnaire was composed of 27 items and began with general questions, such as how the jackets were manufactured. Specific questions, such as materials and sewing method, were also considered further on. The results are as follows: First, as for the structure of the knit jacket manufacturer, seven out of fifteen manufacturers directly manufactured knit jackets in their own factory, while the manufacturing was comprised of 20% woven jackets and 80% knit jackets for all manufactures. Second, as for the type of yarn mostly used in knitting the fabric for the jackets, satin yarn and wool were used mostly for F/W with Plain and Half Milano rib stitches as the type of knit with a gauge of 12G and 7G. Third, as for the margin between the product size of the target brand and the size of the body at the time of designing a knit jacket pattern, the investigation of the actual state of manufacturing showed that the margin at the bust was B+4.8cm, the waist was W+6.9cm, and the hip girth was H+5cm. Therefore, the bust and hip girth of the knit jackets were designed to be smaller than those of the bust and hip girth lines of non-flexible woven jackets. On the contrary, the waist measurement of non-flexible woven jacket was designed to be smaller than the knit jacket. It was found that the side line of the knit jacket was expressed with greater give as compared to that of the non-flexible woven jacket.

• Journal of Fashion Business
• /
• v.3 no.2
• /
• pp.59-66
• /
• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.30 no.2 s.150
• /
• pp.306-315
• /
• 2006

Today, the uniform is perceived being important, because it transmits the unique company image through visualization of images, improves efficiency of work, and increases the feeling of belonging. Therefore, the purpose of this project was to make the winter uniform for the personnel in the manufacturing and the business departments of Korea Tobacco and Ginseng Corporation. The functional, aesthetic, and symbolic aspects were fully considered throughout the design process for the new uniform. To reflect the worker's opinions, the questionnaire method was used. The questionnaire was made up of the questions about the evaluation criteria and design preference for uniform. The result of the survey was reflected on the uniform design. The uniform consists of a jumper and a pair of pants. The jumper for manufacturing workers has two patched pockets with gussets. It has a convertible collar and a horizontal tuck on front panel. It has an open fastener on the front and a flap to cover the fastener. It has two types of pockets inside for functional reason. The welt one is for a wallet and the small one is for a pen. For the material, melanges with two tones of gray color was used, so it gave the sophisticated look on the uniform. The jumper for business workers also has a convertible collar and inside pockets. It has two slant slash pockets with welt. In addition, it has an attachable fur collar which gives thermal protection and aesthetic effect. The fabric has small check pattern and was made of wool. The pants are a basic trouser style with two pleats on the front.

• The Research Journal of the Costume Culture
• /
• v.25 no.4
• /
• pp.448-457
• /
• 2017

This study aims to analyze the changes in the mechanical properties of interlock fabrics knitted with three types of fibers (i.e., cotton, wool, and polyester) by bonding fusible interlinings with varying deniers (i.e., 10D, 20D, and 30D) for a 3D virtual try-on system. We experimented with four properties and thicknesses of twelve specimens of interlining bonded knitted fabrics including face fabrics and interlinings. The results showed that the tensile property changed values (i.e., LT increased, and WT and RT decreased) according to the denier of interlinings; however, the change was slight. On the other hand, the bending property increased significantly as the denier of the interlining increased on both the wale and the course. Among shearing properties, the value of G increased as the denier of the interlining increased on both the wale and the weft; however, 2HG decreased. Additionally, changes in the compression property varied according to the fibers and the denier of the interlinings. The thickness of the knitted fabrics increased or decreased slightly by bonding the interlining. based on these results, we conclude that the 3D virtual system users need to reflect these numerical changes of interlock fabrics by bonding interlinings when they perform fitting tasks on the screen to accurately express the to accurately express the manufacturing conditions of the real garment.

• Conservation Science in Museum
• /
• v.12
• /
• pp.59-69
• /
• 2011

The conservation treatment and production technique of Yongmuntujoeunpanpi-Angyo(Saddle Ornament) at Hwangnamdaechong were: The conservation treatment removed foreign material by using both chemical method and physical method to reinforce and to recover area by jointing that was destroyed and weakened. Not only Angyogeumgu but also Jwamokseongeumgu was made of 99wt% or more silver (Ag), and Wondujeong, Naeyeongeumgu and Bokryung were produced by amalgam gold plaiting. Not only Angyogeumgu but also Jwamokseongeumgu that was cast with silver plate was jointed by folding both and putting Naeyeongeumgu on it and then nailing gild ofwondujeong at specific interval. A tree that grew up in curve was used, and it was adhered by plain weave fabric of hemp cloth and wool.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.4
• /
• pp.77-90
• /
• 2015

This study is to designed to provide foundation for knit design which can apply the thickness and flexibility of jacquard knit by analyzing and comparing mechanical properties of 7 types of jacquard (normal jacquard, bird's eye jacquard, floating jacquard, tubular jacquard, ladder's back jacquard, blister jacquard, transfer jacquard) widely used in knit design to achieve the results. The sample was projected by using 7 gauge and SES-122S type computer knitting machine house tooth pattern with two colors were applied to 7 types of jacquard using Acrylic/Wool(30%/70%) $2/50.5^{\prime}s{\times}4ply\;yarn$ by Shimaseiki MFG., Ltd computer knitting machine. The mechanical properties of 7 types of jacquard samples were measured using KES-FB (Kawabata Evaluation System for Fabric, Kata Tech Co. Ltd). HV(Hand Value) and THV (Total Hand Value) were calculated by using the formula of KN-402-KT and KN-301-WINTER respectively. The measurements were evaluated by 0-to-5 rating scale. As result, the floating jacquard was found to have excellent drape, making it suitable for express feminine silhouette with its most flexible and smooth touch. On the other hand, bird's eye jacquard is adequate for a suit jacket and coat regarding its excellent volume and flexibility. Blister jacquard and tubular jacquard are thick, heavy and stiff knit and both are suitable for simple box-style design. Ladder's back jacquard, however, is more appropriate for expressing the design of feminine charm and voluminous design. Based on the result of this study, it is supposed to provide basic information for development of knit industry regarding jacquard knit by designing the creative knit wear with high production efficiency.