• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.68-80
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• 2010

In order to get the information needed for the preservation and application of Korean traditional dyeing techniques to modern textiles products, the present study analyzed the color and color differences of dyed goods according to the contents of fabrics and the traditional techniques of dyeing the Buddhist priests' robes. A spectrophotometer was used to measure the differences in achromatic color according to dyeing techniques, dyestuff, kinds of dyed fabrics, and after-treatment methods. Through experiments based on the traditional dyeing techniques used by Korean Buddhist priests, a total of 144 pieces of dyed fabrics were made and all the colors of those 144 pieces were analyzed. Among three dyeing techniques tested; (1) dyeing with a dye-bath made of ink stick that was ground down with water, (2) dyeing with a dye-bath made by shaking a bag containing ink powder in water, and (3) dyeing with a dye-bath made by rubbing a boiled ink stick on a fabric, dyeing with a dye-bath made of ink stick that was ground down with water was shown to be the best technique in terms of coloring. For fabrics, ramie was the best of all three techniques in terms of making achromatic color. Starching and rubbing was the most effective after-treatment method used on both fabrics dyed with a grounded ink stick and on fabrics dyed by rubbing a boiled ink stick on them. As a whole, yangyeonmook, made from minerals' soot, is better than songyeonmook, which is made by burning old pine trees or yooyeonmook, which is made by burning oils from seeds. Therefore, yangyeonmook could help to preserve and utilize the traditional dyeing techniques of Korea in a practical way in modern life.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.91-101
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• 2014

String, as clothing material, has played a functional, symbolic and decorative role in garment traditionally. The string has a shape of continuous line, which is one of the basic elements for the design: points, lines and sides. It can effectively represent the silhouette by making our vision flow to a certain direction. This study reinterprets the traditional form of string in a new modern way by developing "Tube-Shaped String" which has an empty hole in the middle. As a creative attempt, the new tube-shaped string can be used for fashion design by applying it to unique shapes, colors, textures, and draping expressions. In a role dimension, this string can become the main fabric material. The methods of the study are as follows. First, it examines the traditional shape and role of string in the history of garment. Second, it studies modern designers, such as Christian Dior, Ann Demeulemeester, Dolce & Gabbana, and 3.1 Phillip Lim, who have applied the string to their design, and have explored the various potentials of the string in the past four years. Finally, based on the theoretical research and practical analysis, this study creates a new tube-shaped string, applying its own technique to fabricating three garments: jacket, dress, and body suit. As a result, each garment shows unique silhouettes, rich texture and color, and rhythmical movement. The unique silhouettes reflect the shape and movement of different bodies. The texture and color are created through the shades of the string which come from the overlapping strips. The garments come with an unbeatable aesthetic design compared to conventional uniform design. As a new material in clothing, this tube-shaped string can be developed to satisfy the public, which has widely varying tastes in fashion.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.848-855
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• 2011

The purpose of this study is to develop design for daily hanbok with Jacquard textile design developed by using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. This study will also develop Jacquard textile design that has elaborate and luxurious patterns and abundant expression of colors using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. Developing daily hanbok design for woman's casual and formal occasion will contribute to fashion business significantly by popularization of daily hanbok as one of the important fashion genre. The "Texpro Design CAD V8.21" program was used for the textile design. A total of 2 designs were developed as the Jacquard textile design with traditional patterns using flower motifs. One type of fabric was produced for each of the textile design with a color selected from "Pantone Color Chips". And finally, four woman's daily hanbok design for either casual or and formal style were developed and these daily hanboks were consisted of one set of jacket and trouser, durumagi, one set of jacket and skirt and one set of vest and trouser. And the actual garments were constructed and the design procedure and the photos of these works were presented. This study showed the possibility of producing highly sensible daily hanbok that suits the fashion trend of middle aged women and the widening of consumer range and the creation of new market by developing Jacquard textile design.

• The Research Journal of the Costume Culture
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• v.26 no.5
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• pp.754-763
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• 2018

This study examined the color reproducibility and color fastness of digital textile printing for nylon sublimation transfer. After measuring the temperature and time suited to nylon sublimation transfer, the researchers conducted various tests for comparison and analysis including polyester transfer paper on polyester fabric to check dyeing characteristics, color change, sharpness, and the rubbing fastness of the dyeing samples for nylon sublimation transfer. These tests produced the following results. At $185^{\circ}C$ and $187^{\circ}C$, the sublimation transfer dyeing characteristics of nylon were similar to those of polyester and the researchers even observed superior color development in some colors; at a low temperature of $180^{\circ}C$, the sample that was worked on had the lowest level of color development. The examination of color difference (${\Delta}E$), which compared $L^*a^*b^*$ values, showed that the ${\Delta}E$ value of magenta was 10.34, that of yellow was 24.70, and that of black was 15.28. These results highlight the important role of heat treatment temperature and time on color development in nylon sublimation transfer. Concerning sharpness, the samples subjected to higher temperature heat treatment exhibited fewer color spreading phenomena around lines. Thus, dyeing properties and fastness can be enhanced by elongating time at low temperatures and shortening time at high temperatures; however, considering production time constraints as well as the need to produce industrially marketable quantities, the findings of this study suggest that the heat treatment temperature most suitable for nylon sublimation transfer is $187^{\circ}C$ for a duration of 50 seconds.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.154-164
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• 2012

The purpose of this study was to investigate the modernizations of traditional Saekdong by analyzing the magazines from the 1955 to 1995. The application of Saekdong extended during the 1950s. Before, Saekdong was only used for children; however, women were wearing it during this period. With the advancement of the fabric industry in the 1960s, a great popularity of Saekdong was witnessed and its application extended even further. During the 1970s, the Saekdong was applied in westernized clothes; however, the 1980s was a time of renaissance for Saekdong as the awakening of national identity movement began. The application of Saekdong in westernized clothes became more popular during the 1990s as the widespread of industrial designing was inspired by the tradition. The functional aspect of Saekdong such as recycling the leftover fabrics decreased over the years whereas the decorative aspect increased. The form of Saekdong became more variant. The Saekdong was applied either as a part or whole of the clothes. With the development of the mechanically woven Saekdong, various widths and forms of Saekdong, not only vertical lines but also diagonal and wave lines, appeared. The colors also changed. During the 1990s, low chroma and gradation methods were applied. Gold and silver threads also were woven together. The motifs were created and gilts were printed on Saekdong.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.3
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• pp.537-547
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• 2017

This study evaluates the wearing performance of a self-contained breathing apparatus (SCBA) belt for firefighters in Korea. A SCBA belt design was suggested based on the wearing evaluation of a SCBA belt; subsequently, prototypes I and II were created. A wearing evaluation of prototypes with improved design and design preference was performed. Six designs elements of the SCBA belt for firefighters were suggested based on the survey results of wearing the SCBA belt and for the SCBA belt design preference for use by firefighters. First, belt material should be made of black high-strength aramid textiles. In addition, Velcro should be used to attach and detach retroreflective and fluorescent materials along with various colors for visibility. Second, the chest belt should be made of the same material used for other parts; in addition, the chest belt should be moved to the center for center of gravity and a cobra buckle should be applied. Third, an O-ring should be applied to the back and the belt connected to the O-ring should distribute the weight in six axes. Fourth, a detachable air respirator should be able to separate by using upper and lower cobra buckles. Fifth, a separable leg belt and a detachable pocket are also suggested. Sixth, a ring for walkie-talkies, alarms and equipment as a fabric ring are also suggested. Prototype III with an improved design was created based on the results of the design suggestion.

• Journal of Fashion Business
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• v.3 no.3
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• pp.15-26
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• 1999

The purpose of the study was to investigate brand images and fashion leaderships of women's wear manufacturers targeting middle-aged women or older women. Thus, this study was to be an exploratory study to investigate clothing behavior of elderly female consumers and search apprel niche-market for them. The questionnaire consists of questions on brand images, fashion leadership, and merchandise assortment. The subjects were to evaluate their brand images and rated on 5 point Likert-type scales of 29 adjectives. The fashion leadership of these brands was evaluated by the degree of fashion trends adopted on 7 aspects including fashion images, silhouettes, fabrics, colors, design details, accessories, and item-coordinations. For the survey, both interview and the subjects were 66 manufacturers which have national brands or designer brands. Among 44 respondents, 30 respondents were designers and the rest of them were merchandiser or shop managers. The SPSS PC+ package was used to calculate frequency, T-test, and cluster analysis. The results from survey of manufacturers targeting middle-aged women or older women are as follow: 1) The brand imges which they pursue are prestigious, practical, and elegance. 2) There were significant differences in brand images, and national brand manufacturers pursue stronger images in prestigious, chic, intelligent, competency, than designer brand manufacturers. 3) 40 brands were divided into two clusters. 36 brands were included in one cluster, and only 4 brand were belong to the other cluster. In this market, the image of feminity was grouped with the image of prestigious, chic, intelligent, competency. 4) In product planning, the adption level of fashion trends in 7 aspects was generally at medium level, but fashion trends were more adopted in fabric, color, and item-coordination.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.209-221
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• 1992

A standpoint art's style, present-day Western dress was establishing a systematic, theoritical value in sphere of fine art's meaning & it's expression on the modern fashion. For this reason, I selected Impressionism (a broad senes: be included Impressionism, Neo-Impressionism, Post-Impressionism) that was designated 'the revolution of color'. In the previous paper, 1 already discussed about the modern fashion under the influence of the color of Impressionism, from this study, Neo-Impressionism's techniques & it's influence on the modern fashion was investigated. The Impressionists had purposely used uneven brushwork & a vivid palette to transmit the intensity & immediacy of nature, whereas the Neo-Impressionists utilized methodically applied dots, a technique commonly described as Pointillism, to achieve their rationalist goal of eliminating the fugitive & the casual in order to seize a more fundamental reality. Of all them, Seurat had already become interested in the posible analogies between science, music & psychology on the on hand & art on the other, and scientist's books & articles offered a wealth of theoretical support. 1'articulary, it was corroborated that effects of sadness, calm, or happiness could be achieved through manipulation of color & design. The conclusions are as follow: 1. Through the modern fashion, a space between pattern & pattern was reflected unstable balances & harmonies, that, Neo-Impressionist emphasized the distinction between outdoor & subject, between elaborately clothed & nude figures, corresponded to modern fashion's pattern. 2. The modern fashion was presented a small border or band within the pattern itself which colors complemented those of the adjacent pictorial surface and mediated between the painted image & its enclosure.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.336-344
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• 2010

Stage costumes are characterized by the importance as a medium of total visual expression on a synthetic art and need to be designed more effectively. This study followed the stage costumes of the play 'Long long time ago whuo-ee whuoee' which participated in the China-Japan-Korea University Theatre Festival. By consisting of the framework of a Korean story that tells and expands the visual expression province by the access method of a producer, the unique costume in the play was created by the dyeing of the traditional hangi. First, the use of hanji in theater represents originality and a fresh variation with the formative beauty of stage costumes in accordance with hanji that conforms to the recreation of tradition. Second, the dip dyeing technique made it possible to express colors limitlessly and the airbrush dyeing technique along with dyeing twice could account for the weak points of the color. As a result, the color brought effect as expected. Third, the weak points were supported by a Jumchi technique that created the fibroid material tangled with stronger adhesion in the creation of a hangi costume. In addition, dyed hangi was attached to the outer fabric. It allowed the costume to have a unique texture that was both soft and tough. This enforced the visualization of the costume and durability to prevent possible damage by the performers. Forth, pieces of hanji were attached to the damaged parts of the costume after re-visiting the dress rehearsal. As a result, the stage costumes represented the shabby clothes that express the social class of the characters. A new understanding of the excellence of traditional hanji was found and confirmed the possibility of it as a material for stage costumes through the study.