• Journal of Fashion Business
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• v.16 no.1
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• pp.41-51
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• 2012

Polyester is mainly used as a bedding filler material. PLA fiber as an eco-friendly material for substituting polyester has a low melting temperature and therefore a hardening process is impossible. This study is to develop the oil for feather touch that can treat at the melting temperature of PLA. The slippery and soft aminosilicone emulsion, and the bulky epoxysilicone emulsion were used. They had proper viscosity and particle size for flexibility and elasticity. When using methoxy aminosilane [$H_2NSi(OCH_3)_3$] as an aminosilane and [$Zn(OCOCH_3)_2$] as a catalyst, the hardening reaction was fast and effective. Feather touch process were treated by 2 steps. At first step, aminosilicone emulsion, epoxysilicone emulsion and methylaminosilane were mixed and homogenized, and at second step, 5% blened solution of the first step, Zn catalyst 1%, distilled water 94% were treated at PLA fiber. After treatment the static friction coefficient and dynamic friction coefficient were reduced to 23.5-60.8% and 30.0-61.3% respectively, and the laundry and sun light fastnesses have not shown any decrease.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.2
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• pp.251-268
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• 2018

This study suggests a fashion design using aesthetic characteristics of works by Kate MccGwire, a modern sculptor paying attention to soft sculpture materials such as feathers. In this research on MccGwire works, their internal meanings may be derived as the dualism of familiarity, movement and consciousness. Works also have aesthetic characteristics of overlapping, fluidity and twist. Using such characteristics, 4 one piece dresses and 2 vest dresses were made. Research findings are as follows. First, aesthetic characteristics of MccGwire works could be expanded into expressive areas of silhouettes and details in fashion. Second, visual flow and concentration could be expressed by gradual coloration of feather colors. Third, dart manipulation could be applied naturally by details and curve silhouettes of fashion design. Fourth, touch of feather material could be expressed fully by leaving the edge of garments raw. Fifth, spatiality of fashion could be implemented partially by applying decorative saddle stitching to costume design details. This study explored a potential of soft sculpture occurred during a transitional process of objet pursued by 20th century's avant-garde artists applicable to fashion design ideas that suggested methods for contemporary creative design.

• Elastomers and Composites
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• v.58 no.3
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• pp.112-120
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• 2023

Herein, we propose a facile water-processible method to develop an eggshell membrane (ESM)-embedded waterborne polyurethane (WPU)-based bio-degradable and bio-compatible coating material that exhibits attractive tactile properties. Virgin ESM is not dispersible in water. Hence, to develop the ESM-based WPU composite, soluble ESM (S-ESM) was first extracted by de-crosslinking the ESM. The extracted S-ESM at different concentrations (0, 0.5, 1.0, 1.5 wt %) was mixed with WPU. Compared to virgin WPU, the viscosity of S-ESM/WPU dispersion and the in-plane coefficient of friction (COF) of the composite film surfaces decreased with an increase in the S-ESM content. In addition, an increase in the S-ESM content improved the tribo-positive characteristics of the film. Different good touch-feeling biomaterials, such as fur, feather, and human skin exhibit tribo-positivity. Thus, the enhanced tribo-positive characteristics of the S-ESM/WPU and the decrease in their COF owing to an increase in the S-ESM content imply the enhancement of its touch-feeling performance. The S-ESM embedded WPU composites have potential applications as coating materials in various fields, including automobile interiors and artificial leather.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.159-172
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• 2007

For the study on the Latin American culture reflected in fashion designs since 2000, the applications of Latin American culture shown in the four major collections from 2000 S/S to 2005 F/W (110 pieces) and some African designers' collections (157 pieces) have been analyzed and compared in three categories - forms, patterns and accessories. First, in the formal application of traditional clothes, the traditional elements of Indio culture are utilized in both the four major collections (76.8%) and the Latin American designers' collection (77.1%). Quechquemitl, the traditional Indio clothes are utilized in various forms in the four major collections, while the Latin American designers adopt various forms of traditional clothes, such as quechquemitl, camisa and pollera. Second, in the textile design, the patterns from Indio's traditional textile design are utilized in both the four major collections (68.7%) and the Latin American designers's collections (5.6%). The remarkable difference between the Latin American designers and the western designers is that the former like to mix the simple and primitive Indio culture with the colorful Iberian culture, and to utilize various patterns of feather, which is an important symbol in the traditional culture, expressing tradition in the modern touch. On the other hand, the western designers change the primitive and handcraft feel of Indio patterns into colorful ones, or mix the colorful Spanish-style flower patterns with primitive and passionate feel. Third, simple and handcraft feel of Indio accessories are utilized in modern fashion in both the four major collections and the Latin American designers' collections. The most remarkable difference between the two group of designers' collections is that various feather patterns are used in Latin American designers' collection, while the accessories reminding of relics of Maya and Inca are widely used in the four major collections.

• Journal of Fashion Business
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• v.12 no.2
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• pp.42-58
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• 2008

The purpose of this study is to examine actual design cases of decorative detail in the Art Nouveau style from the end of 19th century to the beginning of 20th century, and create designs and fashion works to meet our contemporary fashion trends by means of over-decorative style, a characteristic of decorative detail. The characteristics of decorative detail in the Art Nouveau style can be outlined as follows: First, pleats appear with two major feels of solidity, undulated and curvilinear solidity based on gather(ruffle, frill/ flare and flounce) and regular and linear solidity based on linear pleats or tucks. Second, embroidery appears in various patterns developed with stitch of solid feel as well as a variety of coloration effects. Third, attachments are expressed by means of independent motif(applique, gloss effects(beads, sequins), affluent texture and mobility(fur, feather). Moreover, according to technical characteristics and expressive aspects of pleats, embroidery and attachments, it is found that decoration detail in the era of Art Nouveau is over-decoration style. Indeed, it appears in major expressive aspects such as rhythmical solid type, detailed prominence type, superficial touch type and profound volume type.