• 보존과학회지
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• 제38권3호
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• pp.243-253
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• 2022

본 연구에서는 청송심씨묘 출토 금직물 유물 2점(부금 원삼, 직금 치마)에 대한 비파괴 분석방법을 이용하여 유물 상태, 섬유 재질, 표면 오구(汚垢), 금속사에 대한 재료적 특성을 파악하였다. 출토 당시 유물의 상태는 모두 갈변되어 본래의 색상을 확인할 수 없으며, 섬유재질은 SEM과 FT-IR의 Amide I, II, III, IV 피크와 정색 반응 결과들로 누에고치로부터 얻은 견 섬유임을 확인할 수 있었다. 표면 오염물인 흰색 오구와 검정색 오구는 FT-IR, XRF 분석결과 시신의 부패와 미생물 분해로 나타난 지방질, 단백질 등의 가수분해 물질임을 확인할 수 있었다. 금속사의 금박층을 XRF로 분석한 결과 금(Au)으로 확인되었으며, 금속사 배지에 대한 FT-IR, 정색 반응 결과 배지의 접착제 성분은 Amide I, II, III와 3000 cm^-1 전·후의 Amide A, B의 결과로 동물성 교(膠)로 확인되었고, 배지는 정색 반응 결과 국내에서 생산된 닥나무 인피 섬유인 한지로 확인할 수 있었다.

• 복식
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• 제48권
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• pp.197-216
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• 1999

This study reflects the aim of analyzing the formality and symbolism of the Chanel suit. Chanel had designed jersey and tweed cardigan suits in the 1910s and 1920s while her suits of the 1930s were crisply fitted. The suits of the 1950s and 960s while were comfortable and slightly boxy marked a significant step forword. Lagerfeld's mission at Chanel was to tranmute the basic elements of the Chanel style and make them contemporary. He has also introduced the contemporay wide shoulders and short tihht skirt In place of sensible knee-length skirts he offered hemlines that either grazed the ankles or exposed most of the thighs. Besides her very influential jersey and tweed cardigan suit Chanel continued to assert her considerable strength with materials often making her suits in very delicate feminizing fabrics. in place of the classic boxy tweed jacket Lagerfeld introduced jackets made of terrycloth denim and stretch fabric Many of Chanel's suits show a stylish sense of colour that would have made artist envious. Chanel and Lagerfeld chose variety of colours from beige and grey and black to blue green cerisen and red for her suits. They was completely in tune with the twentieth century understanding the changes in lifestyles of woman and also understanding how her clothes should cater to them Thus the Chanel suit is more a way of life than just a fashion and is synonymous with wealth and aritocracy. It is one of the most popular status-symbol styles of the 20th century.

• 복식문화연구
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• 제25권5호
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• pp.694-707
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• 2017

This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women's wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.

• 한국의류산업학회지
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• 제6권5호
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• pp.667-672
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• 2004

Poly(ethylene terephthalate) (PET) fabrics were treated with a silica particle and phosphate flame retardant to determine the optimum process condition of the digital textile printing(DTP) media. The treating conditions for the study were 6 conditions, from F1 to F6, in which F3, F4 and F5 were treated with mixture of both silica particle and phosphate compound in process of pad, dry and cure fixation. F6 was treated with phosphate compound only and silica particle coating successively. Xanthan gum was used to control the migration of liquid phosphate compound onto PET fabrics. The change in surface morphology of fabrics treated with silica particle and phosphate compound was observed by SEM and flame retardance was evaluated by limiting oxygen index(LOI). It was observed that F6 was the excellent flame retardance and low bleeding in printing, Collectively, the printing characteristics of silica to cyan, magenta, yellow and black ink and flame retardance of fabrics finished with phosphate compound were identified in this study.

• 한국염색가공학회지
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• 제26권3호
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• pp.187-194
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• 2014

To improve the deep coloring effect of PET fabrics, the alkali treated and black dyed PET fabrics were treated with 2 kinds of low refractive compounds such as acrylic resin and silicone resin. The color depth effect of treated PET fabrics was evaluated as lightness(L) change by UV-visible spectrophotometer. As the weight loss of PET fiber treated with alkali increased, the color depth of PET fabrics increased. Lightness(L) of PET fabrics treated with deep coloring agent was lower than that of untreated PET fabrics. The optimum concentration of treated PET with deep coloring agent was 4% o.w.s. The deep coloring effect of PET fabrics treated with silicone resin was higher than one treated with acrylic resin. PET fabrics treated with silicone resin only might be more appropriate process than PET fabrics treated with acrylic and silicone resin for giving deep coloring effect for polyester fabrics.

• 한국의류학회지
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• 제6권2호
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• pp.33-40
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• 1982

The removal and redeposition of particulate soil occur simultaneously during the washing process. In order to investigate variables which affect on the redeposition of particulate soil, cotton lawn was soiled in the ion oxide black suspension using Launder-O meter. The amount of deposited soil was estimated by means of the spectrometric analysis of iron on the fabric after soiled. The results are as follows: 1. The presence of surfactants b suspension decreased the deposition of particulate soil and the most effective surfactant was soap and the descending order was NaDBS>CTAB>PONPE. 2. The influnce of temperature on soil deposition was considerable, soil deposition was gradually increased with elevating temperature in ionic surfactants solution such as NaDBS and CTAB but that was decreased above $40^{\circ}C$ in nonionic surfactant solution. 3. The tendency of soil deposition was dwindled by adding electrolytes especially in case of polyvalent anions. 4. From the results of the experiments redeposition of particulate soil was related with suspending power of surfactants and was influenced by factors varing zeta potential.

• 한국염색가공학회지
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• 제32권1호
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• pp.19-26
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• 2020

The previous study reported that the quaternary copolymer of MMA, BA, MAA, and NEA was expected to be a good monomer composition for a binder polymer with good rubbing fastness for digital textile printing(DTP) pigment ink. However, the rubbing fastness of the dyed fabric with the quaternary copolymer binder containing pigment ink is not enough to be commercially used. Therefore, this study aims to optimize MMA:BA:MAA:NEA composition for improved rubbing fastness. And the binder polymer with various MMA:BA:MAA:NEA compositions were synthesized using miniemulsion polymerization. The particle size, viscosity, molecular weight, and Tg of the synthesized binder were evaluated. And the color strength and rubbing fastness of the black pigment ink dyed cotton fabrics with the prepared binders were also evaluated. Then, the stiffness of undyed and dyed cotton fabrics were evaluated to investigate the changes in touch as the binder structure changes.

• 한국염색가공학회지
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• 제34권1호
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• pp.10-19
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• 2022

Humectants are chemical compounds which added to water based pigment inks for DTP (Digital Textile Printing) to prevent evaporation of water. The humectants usually have diol or triol type chemical structures and their -OH groups have possibility to react with functional groups of the binder polymers, such as ester, carboxylic acid, and urethane groups, acting as a crosslinking agent. The crosslinking reactions between polymer binders and humectants in inks can affect touch of the printed fabrics. In this regard, this study aims to investigate effect of chemical structures and added amounts of humectants in pigment ink on touch of dyed fabrics by using 1,6-hexanediol, ethylene glycol, diethylene glycol, and 1,4-buthanediol with various amounts added to the mixture of a black pigment and a polyurethane type binder. Then, color, rubbing strength, touch of the fabrics dyed with the prepared pigment inks were evaluated.

• 보존과학회지
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• 제32권3호
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• pp.321-331
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• 2016

아세트알데하이드가 직물에 미치는 손상여부, 손상정도는 다른 재질에 비해 명확하지 않다. 본 연구는 견, 면, 모시, 삼베의 무염색, 천연염색시편을 대상으로 아세트알데하이드 0.1, 0.5, 1, 10, 100, 500, 1000 ppm 농도에서의 손상, 손상농도에서 온 습도 조건에 따른 손상 가중, 손상농도에서 열화직물시편의 손상을 광학적, 화학적, 물리적 측정방법으로 평가하였다. 이 결과, 아세트알데하이드 농도 1000 ppm/day에서 면_황색시편의 색차가 증가하였고, 고습조건($25^{\circ}C$, 80%), 고온조건($30^{\circ}C$, 50%), 고온 고습조건($30^{\circ}C$, 80%)에서 황색시편들의 색차 증가와 변퇴색등급 감소가 뚜렷하였으며, 고온 고습조건($30^{\circ}C$, 80%)에서 면_무염색시편의 아세트산이온 농도 증가, 견_무염색시편의 pH 감소가 나타났다. 열화직물의 경우, 흑색시편들의 아세트산이온 농도가 증가하였다. 이를 통해 아세트알데하이드가 전통직물에 미치는 손상은 크지 않으나 황색직물의 탈색과 열화된 흑색직물의 아세트산이온 농도 증가가 예상된다.

• 헤리티지:역사와 과학
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• 제46권3호
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• pp.230-250
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• 2013

동아대학교박물관에 소장된 <초충도수병(草蟲圖繡屛)>(이하 <수병>)은 보물 제595호로 지정되어 있으며 초충도 회화작품보다 더 정교하고 섬세한 사실적 표현과 다채한 입체적 구성으로 미술사 분야에서 그 가치가 높이 평가되어 왔다. 그러나 <수병>이 자수 작품임에도 불구하고 현재까지 섬유공예적 측면에서의 분석과 연구는 이루어지지 않았다. 본고에서는 <수병>의 바탕직물, 자수색사, 자수기법 등을 과학적 기기를 사용하여 조사 분석함으로써 <수병>의 문양소재와 섬유공예적 특징 및 <수병>이 섬유공예사에서 갖는 가치를 규명하였다. 연구 결과, <수병>은 8폭 병풍으로 이루어져 있으며 소재와 구도는 일반적인 초충도 회화작품과 유사하다. 각 폭의 주제문양은 제1폭에서부터 순서대로 오이, 맨드라미, 원추리, 여주, 패랭이, 수박, 가지, 들국화로 이루어져 있다. <수병>의 문양 중 여주는 현전하는 초충도 회화작품에서는 볼 수 없는 특별한 소재이다. 제8폭은 곤충, 파충류 등의 문양이 없이 들국화만 단독으로 시문하여 초충도의 전형적인 형식과 차별이 있다. <수병>의 직물은 지금까지 장식용 자수에서는 볼 수 없었던 검은색을 사용하여 다채한 색사를 강조하여 극대로 표현하고자 했음을 알 수 있다. 바탕직물은 5매 공단[무문단(無紋緞)]을 사용하였다. 자수사는 극히 미약하게 꼬임을 준 반푼사를 사용하였으며 꼬임의 방향은 우연이다. 한 가지 색의 단사를 사용하기도 하고 때로는 두 가지 색을 병사로 사용하거나 합연사한 혼합색을 사용하여 입체적으로 표현하였다. 색상은 열화되고 퇴색이 심하여 원래의 색은 알 수 없지만 가장 많이 사용된 색은 황색계열에서 녹색계열의 색이며 청색, 갈색, 자색 등이 비교적 잘 남아있다. 원추리, 패랭이, 딸기 등의 색은 현재 적황색으로 남아 있는데 초충도와 비교해 볼 때 원래는 주황색 또는 홍색이었을 것으로 추정된다. 자수의 기법은 대부분 표면평수를 사용하여 면을 채우고 있다. 이를 통해 색사의 낭비를 줄이고자 했던 옛 여인들의 알뜰한 지혜가 엿보인다. 평수는 면을 장식하는 비교적 간단한 자수법이지만 색사를 다양화하고 면을 분할하여, 수직, 수평, 사선평수를 배합하고 때로는 자릿수와 같이 서로 맞물리게 자수하여 다양한 질감과 양감을 표현하였다. 곤충의 몸통은 가장자리수와 이음수, 평수를 혼합하여 입체적으로 표현하고 있으며, 특히 가장자리수의 활용이 주목된다. 그 외 이음수로 잎맥 등을 입체감 있게 나타내고, 제7폭의 쇠뜨기는 표면솔잎수를 층층이 자수하여 사실적으로 표현하였다. 패랭이, 딸기, 오이 등에는 평수 위에 장식수를 더하여 세세한 묘사를 더했다. <수병>은 회화사, 문화사적으로도 가치가 크지만 한국 자수공예사에 있어서도 우수한 한국적 자수기법과 색채를 사용하여 신사임당 초충도의 모습을 가장 잘 표현하고 있는 점에서 큰 중요성을 지닌다고 할 수 있다.