• Journal of the Korean Society of Clothing and Textiles
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• v.11 no.3 s.25
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• pp.33-40
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• 1987

PET FDY was heat set at various temperatures and times and the microstructural changes was investigated through crystallinity, birefringence and melting behavior analyses. Crystallinity of heat set PET increased as the treatment temperature and time increased. Birefringence also increased as temperature and time increased. The melting behavior of heat set PET was as follows: In most cases, PET showed double melting peaks. As temperature and time increased, form II crystal became sharp and increased in size, and form I crystal decreased in size. The slower the heating rate, the higher the programmed heating effect during DSC analysis.

• Journal of the Korean Home Economics Association
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• v.33 no.3
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• pp.255-264
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• 1995

This study was the designed to measure skin irritation caused by clothing at free foraldehde have caused a substantial number of cases of dermatitis type. Free formaldehyde levels were observed in infant's sanitatized goods9disposable diapers, cotton-diapers and under wear etc.) at 1992, 1994. The amount of free formaldehyde was measured by means of Acetyle Acetone method(KS K 0611). As the resort, underwear generally gave the highest free formaldehyde level, but disposable diapers and cotton diapers showed the lowest level. The formaldehyde level in intan's clothing lowered in 1994 than 1992, after the enforcement of the level in intant's clothing lowered in 1994 than 1992, after the enforcement of the formaldehyde level control. it was found that 38.7% of infant's sanitatized goods still exceeded th controlled level(A-Ao : 0.05) In the future, research to lower the amount of formaldehyde released form fabrics will also lead to decreased incidence of garment formaldehyde sensitivity. The possibility of a consumer suffering is being in convenienced form a textile-related skin problem will be even lower than it has been in the past.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.4
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• pp.482-494
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• 2014

This study researched TV makeup types with a focus on Korean aesthetics. First, natural beauty is expressed with a random form that excluded artificial techniques or decorations often shown in the form of incompletion and space through TV entertainment programs. Incompletion is what excludes artificial technique and denies the whole completion in expressing a face, it shows the intentional incompletion that leaves it as a bare face that has no type, no color, and no decoration. A pursuit for purity, as nature leads to realizing the internal world of concentrating on the essence of object. Space is what makes it empty without filling, it offers a mental space in the inner side so that diverse images can be imagined beyond external form. This trend is indicated similarly to the tendency that the recent global interest in naturalism yearns for purity in nature and wellbeing. The presentation of skin (preferably healthy looking skin) is given attention; consequently, the similarity was being shown between the TV makeup that focuses on expressing skin and recent trends.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.1
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• pp.77-87
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• 2008

Modern fashion industry creates complex and multiple fashion by amalgamating and mixing all elements that emerged in fashion without limiting them to a specific genre. The results of study are as follows: First, with regard to the conceptual differences among poor look, anti-fashion, and resistance fashion and the background. second, As aesthetic categories of poor beauty, its image with the feeling of poorness, beggar-likeness, worthlessness, poorness, and uncleanness is divided into the beauty of moderation, deconstruction, unfinished beauty, natural beauty, and ostentatious poor beauty based on the formative characteristics and poor look. Third, Oriental and Western poor images are comparatively analyzed. The poor beauty found in Oriental fashion, which is based on Zen aesthetics, seeks loneliness, poorness, and simplicity as an empty origin and features internal meaning that expresses the purity of poor beauty itself and external form that is visualized through no decoration, no color, and asymmetry in material and composition. The poor beauty in the West features non-form of no shape, asymmetry and disharmony and the characteristic in its contents is "distortion", and the characteristic in its expression features external form of "incorrectness" and internal meaning implying modem humans' frustration, resistance to materialism, and skepticism about mechanicalism.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.37-49
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• 1991

The purpose of this study was to investigate the visual effects of clothing design. The specific objectives were: 1) to develop a clothing design evaluation instrument using semantic differential scales for the purpose of measuring visual responses with clothing design: 2) to identify the factor structure of the clothing design evaluation instrument: 3) to test the differences of perception to the clothing design depending on sex and knowledge about clothing design. The major findings were: 1. 37 pairs of descriptors of clothing form were found to include five factor dimensions (total variance:62.1%). Five major factors were found: attractiveness, practicability, elegance, comfort, hardness and softness. 2. for the visual evaluation of silhouettes, there were significant differences. H-line was explained by the simple image. A-line was explained by the comfortable image. V-line was explained by the mature and refined image. X-line was explained by the attractive and femine image and evaluated positively. 3. For the visual evaluation of observers, there were partly significant differences depending on sex and knowledge about clothing design in the observers' responses. But there were greater differences depending on sex than knowledge about clothing design in the observers' responses.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.589-599
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• 1997

The purpose of this study was to investigate compostion factor and special qualities of design about Korean clothing image. The 72 samples were obtained from domestic fashion magazines. The questionnaire, which was composed 23 semantic diffrential bi-polar scales, was distributed to 50 female students majoring in Clothing and Textiles. The data were analyzed through factor analysis, anova, scheffe's test, clust analysis. The results were as follows; 1) Through factor analysis about Korean clothing image, 5 factors were identified; elegance, simplicity, femininity, tradition, looseness. 2) By cluster analysis, 3 clusters were determined according to Korean clothing image. Special qualities of design about Korean clothing image showed that there were lots of H silhouette in clothing form, related harmony in color harmony, somewhat rough and crude in texture and simple design in decoration. Top was more or less fit and bottom was found somewhat exaggerated tendency in fitness. 3) As a result of the visual evaluation about Korean clothing image, there were significant differences in all factors.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.75-96
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• 2000

Modern clothing is approached in the level of art, and it becomes the means of expressing individuality in modern society uniformed by the development of information society. In this modern society, modern men need the recovery of humanity and expectations of handcrafted skills for the succession of tradition culture. Prior to expressing individuality, we should examine our traditional culture and combine it with western culture. Quit started to be used for practical purpose such as life items, but it is expanded to the fields of art. Used in dress and its ornaments design, quilt is often applied to the addition of aesthetic factors or cubic material feelings by transforming its warming effect. Hereby, this study has a purpose to create high value added modern dross and its ornaments design by expressing the modern clothing is approached in the level of art, and it becomes the means of expressing individuality roe-dimensional characteristics of quilt, and applying the color combination and the surface of butterfly wings to dress and its ornaments design. The following are the results of this study. 1. The concept of quilt started for practical purposes, but it is expanded to decoration in modern times, and it is confirmed that quilt can be variously applied to handcrafted modern design. 2. Quilt removes the plane character of textile and it riches the three-dimensional material of dress and its ornaments. Applying these characteristics, the expression of transparent wings were possible with 3 transparent layers of textile. 3. The spledid color of butterfly wings are expressed by coloring oganza and felt, and the various colors of felt showed rich color gradation. 4. The form and pattern of butterfly wings are applied as modeling form and line, and the transformation. repetition and expansion of unit forms determined the form of quilting lines. By designing the characteristics of back wings for the composition line of clothing, the form characteristics of a motif could be emphasized. 5. By using felt, oganza, Damdam yarn and ostritch feathers in expressing butterfly wings, the warm material of Linbun is felt, and the tip hair of wings are expressed by croche techniques using Damdam yarn.

• Journal of the Korean Society of Clothing and Textiles
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• v.13 no.1 s.29
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• pp.35-42
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• 1989

The purpose of this study is to assort Sim-Eui form in Chosun Dynasty Period, so that we considered pictures of Sim-Eui in literature, portraits, and Sim-Eui. The results obtained are as follows; 1. Considering that United Sinla Period was related deeply to Tang Period, it is assumed that Sim-Eui was already transmitted in United Sinla Period. 2. Sim-Eui form was assorted roughly into two group, Straight line collar Sim-Eui (Gik-Ryeong Sim-Eui) and Sguare collar Sim-Eui (Bang-Ryeong Sim-Eui). The former was made to closs collars but not similar to carpenters sguare (Gop-Ja). The latter was made by Bek Gyum-Han at the begining, by the way it was not used widely. Then again Chun-Hu made the Sguare collar Sim-Eui in 19 c, it was used widely with Straight line collar Sim-Eui. 3. Sim-Eui in $\ulcorner$Ga-Rye-Bu-Chuei$\lrcorner$ was similar to those days Chullick, that verifies the Sim-Eui's influence on Chullick. 4. There was new simple Sim-Eui in $\ulcorner$Sa-Rye-Jip-Yo$\lrcorner$, it was similar to large sleeve's Durumagi, Heng-Eui. 5. Sim-Eui was sustituted by Gik-Ryeong Eui, Dap-Ho, Dan-Ryeong, Do-Po, Heng-Eui.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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• pp.271-286
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• 2015

This study presented functional designs for development of functional compression wear for men in their forties based on body muscles as well as designed 2D patterns using 3D standard body form data of men in their forties. Patterns with an optimal stretch rate were proposed through a comfort evaluation. Different material was used for different areas such as the sports ability strengthening areas including body parts that often move for sports (such as the shoulders, abdomen and lower arm), areas that require ventilation for perspiration (such as the chest and back center, and armpits), and stable form areas (such as the chest, waist and elbows). The front and back surface areas of the developed pattern was an average 102.4% size compared to the body surface area. The results indicated that the 90% reduction pattern showed changes in pressure value according to area of movement, had the best breathability when worn, and had the best, most comfortable fit compared to the other subjects. The clothing pressure values of the pattern were around 22.1-23.4mmHg for the arm area (which has a big movement range and has many muscles) and 10.4-11.8mmHg for chest and abdomen areas related to major organs and breathing, indicating appropriate clothing pressure. A compression wear top pattern with pressure appropriate to the target age range and excellent appropriateness for the body form will be developed for men in their forties. A study method will be proposed to develop design technology for ergonomic compression wear tops with excellent fit and comfort.