• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• 한국의상디자인학회지
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• 제16권3호
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• pp.135-149
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• 2014

Fur clothing as fashion items is expanding into casual & ladies's wear market as well as fur market. The interest of fur fashion is rising. So this study compares and analyzes the merchandising process of textile clothing also it of fur clothing by merchandising steps. Fur clothing has so many change factors at time of purchase by scarcity of raw material, price fluctuation, exchange rate and others. Therefore it is primarily about securing of raw material. As soon as plan of product is finished, the purchase of fur raw material has to be started while progress of design products for commercializing the fur clothing. The design of fur clothing is consist of material design, color design and shape design. And It makes a new trend & market as we are developing new & various treatments. The some of imported materials are transferred to the factory for being treated first dressing, fabric treatments and dyeing processing according to the design. The first treated materials are transferred to the sewing factory again for secondary treatments and finally inspected and shipped. During secondary treatments the fur has gone through various manufacturing process for using like fabric materials and it takes long time because almost work is running manually. Unlike fabric clothing, fur clothing's manufacturing method is complicated and various from material process to shape process as per feature. Therefore the merchandising with fur cannot make mass production also needs detail craftsmanship depending by expert's skills. On this wise the fur clothing takes long time to the completion thus it has been risky and costly.

• 한국의류학회지
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• 제35권3호
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• pp.325-335
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• 2011

This study analyzes the current educational curricula in the field of Clothing and Textiles in order to develop appropriate educational methods and courses. We reviewed the curricula offered by 58 Clothing and Textiles Departments at four-year universities in Korea. We analyzed the educational content of each curriculum by dividing all of the courses offered into eight categories. The analysis was based on the information posted on the universities' Internet websites, and the analysis was performed by using descriptive statistics. The results of this study are as follows: First, the educational courses of the Clothing and Textiles Departments are composed of, 36.2% design, 20.4% production, and 14.5% textile categories. In comparison with the results of a similar study conducted in 1999, emphases on the design, distribution, and marketing categories have increased, while the emphases on the production, apparel material, basic knowledge, and consumption science categories have decreased. Second, in the case of the apparel material category, basic knowledge of materials constituted 18.5%, the largest part of the category. The average number of units offered in the area of apparel materials by the 58 Departments was 17 units per year. The curricula were found to vary by regions of the country. The universities located in the Chungcheong region offer more textile material courses, but the universities in the Capital region offer fewer textile material courses than other regions. Departments that are affiliated with universities that emphasize Art and Design have more courses on basic knowledge, dyeing and finishing, and fabric design than other universities.

• 한국생활과학회지
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• 제15권5호
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• pp.803-809
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• 2006

Korean traditional paper 'Hanji' made from the bark of the paper mulberry tree is a good handicraft material because of its high viscosity, durability, dyeability, toughness, flexibility, plasticity, and manipulability. Hanji has been used as a textile material such as cotton wool for protection and keeping us warm from cold weather. However, Hanji has many limitations, while other textile materials have many advantages of such as washability, being sunproof, and fast coloring. The purpose of this study is to review physical properties, formation ability, and dyeability of Hanji as a material of fashion accessary. The contents of this study are composed of 5 parts: 1. To introduce the necessities of this study, 2. To review a historical background of Hanji and to identify its physical characteristics as a fashion accessary material, 3. To review and to compare techniques such as bonding, quilting, knitting, creasing and holding, twisting, folding & braiding, paper pasting, coloring & cutting, and outwashing(?) in making Hanji fashion accessaries, 4. To review dyeing and finishing techniques to increase commercial value, 5. To identify the best fashion accessary materials made of Hanji. The most important characteristics of Hanji as a fashion accessary material are its toughness in a wet state, fast color fixing, and flexibility. Especially weaving and knitting are considered as the most desirable techniques to make fashion accessary products stronger and more practical.

• 한국의류학회지
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• 제19권1호
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• 박물관보존과학
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• 제12권
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• pp.9-17
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• 2011

본고는 적색계 염재인 소목, 꼭두서니, 홍화, 자초로 염색한 직물편에 대한 비파괴 자외 가시광 분광분석 및 3차원 형광 분광 분석 내용으로 고대 직물에 염색된 염료 규명을 위한 기초 자료 구축을 위함이다. 직물이나 매염제의 종류에 따라 각 분석 결과에 영향을 주는지 여부를 확인하기 위하여 직물 2 종류(면과 견)와 매염 방법 3 가지(무매염, 백반, 철)로 염색한 직물시편을 제작하였다. 염색 직물편에 대한 자외-가시 분광반사 스펙트럼 결과 소목, 꼭두서니, 자초로 염색한 경우 직물의 종류에 관계없이 매염제에 따른 차이를 보였다. 또한 홍화는 직물 및 매염제에 따른 차이가 없었다. 3차원 형광 스펙트럼 측정결과 소목은 매염제에 따른 차이를 보이며 꼭두서니의 경우 직물에 따른 차이를 보였고, 홍화의 경우 직물과 매염제 관계없이 고유한 형광스펙트럼으로 나타났으며, 자초의 경우 형광스펙트럼이 나타나지 않았다.

• 복식문화연구
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• 제28권5호
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• pp.669-676
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• 2020

The purpose of this research was to revive the bathochromic effects of wool fabrics by using natural dyestuffs with minimum heavy metallic mordants. The natural dyestuffs used in this research were the indigo plant, Phellodendron amurense, and Caesalpinia sappan. Sample no. 1 was pre-dyed five times with indigo. Sample no. 2 was pre-dyed five times with indigo and then once dyed with Phellodendron amurense. Following the same method as sample no. 2 with an additional Phellodendron, Sample no. 3 consisted of a pre-dye five times with indigo and twice with Phellodendron amurense. Sample no. 4 was pre-dyed six times with indigo and then once dyed with Caesalpinia sappan. Sample no. 5 followed the same method as no. 4 with an additional dye of Caesalpinia sappan. Sample no. 6 was pre-dyed five times with indigo and then once dyed with Phellodendron amurense and once dyed with Caesalpinia sappan. The results were as follows: first, all samples showed deeper colors. Second, according to the results of the surface K/S measurement, the surface K/S of wool fabrics was >20. Third, the results of lightfastness measurement showed superiority over grade 4 in samples no. 1, 2, 3, 5, and 6. However, sample no. 4 was grade 3. In the colorfastness to washing measurement, sample no. 2 showed greater superiority than grade 3-4, while samples no. 1 and 3 were grade 3. In addition, the colorfastness to dry cleaning for all samples was satisfactory or excellent by more than grade 3.

• 한국의류산업학회지
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• 제7권5호
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• pp.547-552
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• 2005

The study has objective in raising value of the gray color as a meaningful color suiting sentiments of modern people by expressing the gray color in various perspective utilizing natural dyes that is natural at the same time having aesthetic color tones. For example, the main ingredient used for coloring black and gray color is the pyrogallol tannin and the gray tone dye can be acquired by combining the tannin with iron. In order to find the suitable condition for processing tannin, UV-Vis part absorption spectrum of Gallapple pyrogallol tannin, dye ability based on temperature and time, reflection rate based on concentration, color changes based on acid treatment and alkali treatment, changes on surface based on concentration or metal mordant condition, and lightfastness were measured. Maximum absorption wavelength (${\lambda}_{max}$) of Gallapple tannin was at around 273 nm, while strong absorption was also observed at below 350 nm. Dye ability of Gallapple tannin is done more easily on silk rather than cellulose fibers such as cotton, while the optimum condition for dyeing was observed to be at $60^{\circ}C$, for 20 minutes. As a result of acid treatment, the color of dye material consist highly of gray tones and showed red tone after the alkali treatment. While it was observed that as dye concentration and metal mordant concentration increased the color changed at counter-clockwise direction on the Y-scale of Munsell's scale of colors. Lightfastness was more on a normal fading. I hope this study opens up possibilities towards presenting gray color expressed from tannin as color with diversity and aesthetic value. In future, comparative study between dye expressed from catechol tannin dye materials will be helpful.

• 한국의류산업학회지
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• 제8권3호
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• pp.343-348
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• 2006

This study aims to attain gray tone dyed goods by using tannin that is contained in green tea. Tannin is given general name of polyphenol, which has a characteristic that bonds with protein and it is used for food preservative that protects against bacteria, as well as its purpose of black tone dye for silk treatment that has been processed since its early ages. In particular, as tannin reacts with all kinds of metallic mordant and changes to various colors, when tannin acid is combined with iron, it becomes tannin steel and produces gray tone color. Tannin that is contained in green tea is condensed tannins and its structure does not hydrolyze, thus having flavan type structure. In order to find the suitable condition for processing tannin, UV-Vis part absorption spectrum of green tea tannin, dye ability based on temperature and time, reflection rate based on concentration, color changes based on acid treatment and alkali treatment, changes on surface based on concentration or metal mordant condition, and lightfastness were measured. Maximum absorption wavelength (${\lambda}_{max}$) of green tea tannin was at around 273nm, while strong absorption was also observed at below 350 nm. Dye ability of green tea tannin is done more easily on silk rather than cellulose fibers such as cotton, while the optimum condition for dyeing was observed to be at $60^{\circ}C$, for 20 minutes. As a result of acid treatment, the color of dye material consisted highly of gray tones and showed overall gray tone with the combined color of yellow and red after the alkali treatment. While it was observed that as dye concentration and metal mordant concentration increased, the color changed at counter-clockwise direction on the Y-scale of Munsell's scale of colors. Additionally, lightfastness was more on a normal fading.

• 한국염색가공학회지
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• 제33권4호
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• pp.202-209
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• 2021

Natural dyes are more expensive than synthetic dyes and the dyeing process, which is mainly immersion of dye, is complicated. For this reason, relatively small-scale production methods were predominant. However, awareness and interest in environmental sustainability is rising globally, and the use of synthetic dyes causes various environmental problems such as wastewater and CO₂ emission, so the consumption of natural dyes is increasing. In addition, interest in digital textile printing, an eco-friendly dyeing method that can produce products of various designs and uses less water, is growing. In this study, natural indigo dye (Indigofera tinctoria) was used as a raw material for Digital Textile Printing ink, and ¹⁴C (Biocarbon) present in it was measured to confirm whether it was derived from natural ingredients. The performance was confirmed by testing the pH, viscosity, electrical conductivity, surface tension, and particle size analysis of natural indigo ink. In addition, the performance of natural indigo DTP ink and printing fabric was evaluated by inspecting the change in color fastness and corresponding index substances before and after digital printing with natural indigo DTP ink on textiles. Through this, the possibility of commercialization of DTP ink and printing fabric using natural indigo was confirmed.