• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.169-179
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• 2009

In order to preserve the Korean traditional gold foil, to develop as Korean traditional textile art by utilizing in modem fashion for textile industry, and to examine utility of the material which can be used in the modem wearing, interior goods and fashion terms, Textiles Applied Korean Traditional Gold Foil were developed. The results are as follows: First, important factors of the gold foil image should be extracted as materials quality, color and pattern, and modem and practical qualities should be proceeded when developing the image of the gold foil into modem quality material. Second, since gloss of fabric developed by a traditional method is somewhat strong, uniformity being a little bit low for hand-made manufacturing, and practical quality is low for high cost, deletion of the gold foil, etc. So it hasn't been appropriate for studying modem fashion material. Third, Jacquard weave has been examined as the most appropriate method in order to present the gold foil image among a number of textile manufacturing techniques Fourth, considering factors deciding the image of the gold foil and a sense of beauty of modem society, gloss of the foil has been lessened by expressing pattern to lower traditional quality and primary color. Fifth, pattern motives of developed materials have been extracted tram traditional gold foil patterns, and materials have been chosen considering of concepts and motives, and dragon pattern, crane pattern and bat pattern, Sixth, wearing, pin-up works, bed linen, fabrics for chairs, ties, bags, shoes, umbrellas, etc. are produced with the developed materials, and practical use and modern quality have been examined. The result is very satisfactory.

• Journal of Fashion Business
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• v.19 no.5
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• pp.1-16
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• 2015

The appearances and geometry structures of knitted fabrics have important effects on their functions as textile fabrics. Structural design of the woven fabric, prior to the manufacturing processes in the weaving mill, often leads to a similar predictable appearance in the final outcome with the corresponding weave design. The increase of the employment of elastic textile yarns in knitting fabrics for comfort stretch or outdoor sports wear knit products has, however, resulted in difficulties in predicting the final appearance of the knit structure design. Due to the stretchability and exceptional recovery behavior of the elastic yarns such as polyurethane elastomeric yarns, the appearance of the final product often differs from the initial knit design. At textile CAD program for preparing tricot knit designs has been employed in this study to predict the two dimensional appearance of the design. The similarities between the designs and corresponding knit products seem to be acceptable for the two-dimensional textile CAD program in this study. However, when elastomeric yarns are partially employed in the polyester filament tricot product, a considerable amount of departure from the design is apparent due to the constriction and/or deformation of property differences in the elastomeric yarns and polyester filament yarns. Therefore, another purpose of this study is to measure the departure of the final tricot product from the initial tricot design, especially in the case employing elastomeric yarns in the knit structure together with regular polyester filament yarns. For measuring the three-dimensional departure, a 3D scanning system has been used for the mesh reconstruction of the fabric specimen. Hopefully, the result from this study will be used as a guide to modify and improve the current textile CAD program proposed for the two-dimensional simulation of the tricot.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.140-150
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• 2013

The weaving of Mosi(fine ramie) in the Hansan region was inscribed on the representative list of the UNESCO intangible cultural heritage in 2011. Unlike other fabric, as the Mosi is very sensitive towards humidity it needs different conditions for its workspace. The Hansan region is near the sea with many mountains around where it is easy for the Mosi to grow and is an appropriate place to weave Mosi. Recently the manpower for weaving of Mosi in the Hansan area is decreasing with the decrease of workspace drastically. After the investigation of workspace for the weaving of Mosi in the Hansan area, most of the places were done in individual houses and it could be classified in 1. Mosi storeroom, 2. Shed(Gwang che), 3. Dugout hut, 4. Under the toenmaru The depth of the dugout hut and under the toenmaru is around 80~60cm which is similar with the depth of the prehistoric dugout hut houses. The towns for weaving of Hansan Mosi are formed mostly in the Seochungun district, but the Hoamri Hansan-myeon and Gayangri Masan-myeon has the most traditional workspaces and they are still forming and maintaining the traditional town composition. However the numbers are too small and maintaining the traditional town is getting more difficult, so a plan for the maintenance should be made to continue to keep it as UNESCO intangible cultural heritage.

• Textile Coloration and Finishing
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• v.20 no.6
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• pp.82-86
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• 2008

Cooling function is definitely one of the most desirable attribute of clothing. In spite of the recent progress on phase changing material(PCM) research, the final products with sufficient amount of cooling capability have not yet to be developed in market. A new concept of cooling fabrics has been proposed by applying "Peltier effect" to textile materials. It occurs whenever electrical current flows through two dissimilar conductors; depending on the direction of current flow, the junction of the two conductors is absorbed or released heat. This effect has been tested on P-type and N-type conducting polymers. A P-type conductive polypyrrole coated fabric was synthesized by in-situ polymerization on plain weave PET to make conductive fabrics. And an N-type electrically conductive material was synthesized by treatment of MWNT and polyethyleneimine(PEI). A noticeable amount of temperature difference has been found on the fabrics.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• Textile Coloration and Finishing
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• v.22 no.2
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• pp.173-179
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• 2010

In this study, we determine the stretch and shrinkage properties of conjugated yarns. The shrinkage(%) and elasticity(%) were determined by applying twist conditions of 0, 350, 800, 1000, 1200, 1400, 1600, 2000 T/M (twisting per meter). It is found that the shrinkage(%) and elasticity(%) gradually decreased with increasing T/M. Especially the elasticity(%) dramatically decreased over 1400 T/M condition. In contrast, it is showed that the handle and drapery properties decreased below 1000 T/M, which indicates that the optimal T/M condition could be 1000~1400. The effect of shrinkage(%) and elasticity(%) with different steam setting temperatures (60, 70, 80 and $90^{\circ}C$) was also determined. The shrinkage(%) decreased with increasing setting temperature, while the elasticity not changed. In this context, the optimal steam setting temperature could be $80^{\circ}C$ because it is not easy to weave with the yarns which was set below $80^{\circ}C$. The elasticity(%) decreased with increasing the density of warp and weft. To produce soft handle, excellent drapery and good stretch fabrics, the warp density needs to be reached by 90% of the ideal warp density. In the case of NaOH treatments to the fabrics, the elasticity(%) increased with increasing weight reduction. Therefore, this study have demonstrated that the conjugated yarns with core yarn and the SDY CD(cation dyeable spindraw yarn) as an effect yarn would be appropriate to produce excellent mixture-yarn, which displays clean appearance, good handle and excellent elasticity, The optimized conditions are as follows; 1000~1200 twist per meter, $80^{\circ}C$ steam setting temperature, 90% of ideal warp density and relaxation condition treated with 5g/l NaOH concentration.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.34 no.6
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• pp.717-723
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• 2010

Many researchers have studied woven fabric carbon-fiber-reinforced composite (CFRP) materials but the study of fatigue crack propagation in composites has been insufficient. It has known that the crack propagation behavior differs depending on the load and the fiber direction. In this study, the fatigue crack propagation along two different fiber array directions ($0^{\circ}$, $45^{\circ}$) in plain woven CFRP composite was investigated. Fatigue crack propagation tests were conducted on the woven CFRP composite under a sinusoidal waveform load with stress ratios of 0.1 at a frequency of 10 Hz. Once the results of the tests were obtained, fatigue crack propagation rates (da/dN) were plotted against the energy release rate amplitude (${\Delta}G$), and it was observed that either mode I crack propagation or mixed mode crack propagation occurs depending on the fiber array direction.

• Conservation Science in Museum
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• v.12
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• pp.59-69
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• 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 Korean Society of Costume
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• v.56 no.9 s.109
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• pp.37-49
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• 2006

The purpose of this study is to figure out the types and characteristics of the twill damask fabrics through literatures review of both domestic and Chinese documents and records. In addition, the study aims to review the characteristics of the twill damask fabrics found at Sukga Pagoda. The twill damask fabrics can be categorized in terms of the weaving method into Float Pattern on a Tabby Ground, Twill Pattern on a Tabby Ground, Float Pattern on a Twill Ground, Twill Pattern on a Twill Ground, and Without Pattern on a Twill Ground. The fabrics ran also be divided in terms of their name into Ki, Neung, and Munju. Four items of twill damask fabrics were found inside the Sukga Pagoda. All of them are Twill Pattern on a Twill Ground. At the primitive level of weaving skill, twill damask fabric was made by adding patterns with twill damask or BuJik on the background of plain weave. At more advanced level, the fabrics are weaved by making patterns with twill damask or BuJik on the background of twill damask. Compared to the relics of Koryo and Chosun Dynasty, these twill damask fabrics were loosely weaved with relatively thick thread.

• Journal of the Korean Society of Costume
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• v.5
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• pp.65-81
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• 1981

I referred to documents to study the origin and the progressing process of textiles. Cotton seeds were first imported from China by Mun, Ik Jem at the end of the era of Koryeo, and cotton had several different names such as mok-myen, cho-myen, gil-pae, baek-chep-za, tap-po, ban-ki-wha, dong-yep-po and so on. Since the era of the Three Kingdoms, people had heard of cloth of superior quality but it was not certain whether it was imported from China or made in our country. It seems that cotton was not made during that period, white silk, hemp cloth, and ramie fabric were produced. At that time, linen was called cotton by mistake. After importing cotton seeds from China, all the people began to plant them and made their clothes from them. At the beginning of the Yi Dynasty, the weaving technique was dependent on China. However, the government persuaded farmers to plant them. At that time cotton was used as a means of purchasing instead of money. Silkworms raising started during the era of the Three Kingdoms and it was widely spread at the beginning of the Yi Dynasty. In order to encourage sericulture' spinning and weaving instruments were installed in the royal palace and the queen with sher court maids demonstrated how to spin and weave. The activity was named "chin-jam-ye." Linen was the representative of all textiles and it was also very popular. The technique of weaving had already been highly developed at the era of Silla. During the era of the Three Kingdoms people used "bang-chu-cha" as a weaving instrument. They discovered several new hand machines in the period of the Yi Dynasty: they were instrument of removing seeds, spinning wheel, hemp cloth loom and so on, and we find the remains of them these days.