• Fashion & Textile Research Journal
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• v.12 no.1
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• pp.103-108
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• 2010

The purpose of this study was to analyze the effect of fiber contents of socks fabric on the subjective sensitivity and emotional sensibility of consumers. We investigated the relationship of subjective sensitivity and sensibility according to fiber contents and color value of socks. We made five plain knit fabrics as specimens, with a combination of chitosan/SUS fiber contents and three value levels of grayish color. The subjects were 15 males and 54 females in the twenties. The data analysis was conducted with Pearson's correlation analysis, ANOVA, Duncan multiple range test, and regression analysis. The major finds were as follows: A factor analysis showed that subjective sensitivity was classified into five factors (bulky, surface-rough, elastic, attention, and variety) and emotional sensibility was into four factors (salience, stability, luxury, and activity). There were significant correlation between the subjective sensitivity and emotional sensibility. The subjective sensitivities of 'surface-rough' and 'elastic' were significantly influenced by fiber contents. The sensibilities of 'salience' and 'luxury' were significantly influenced by fiber contents. Where as the 'salience' and 'roughness' were significant influenced by color value level. According to sex, there were significantly difference in 'bulky', 'elastic' and 'salience'. As a result of the regression analysis, preference, consuming desire and satisfaction appears to be closely related with all subjective sensitivity and sensibility.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.381-402
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• 2022

This study aimed to identify sub-dimensions of the authenticity and fictionality of a brand story and analyze the effects of authenticity and fictionality on customer-based brand equity. Data were obtained from a group of 213 males and females in their 20s and 30s living in Korea using an online survey institute. Results showed that the authenticity and fictionality of a brand story are composed of reality, excitement, exaggeration, fictional symbolism, influence, sincerity, relativeness, mysteriousness, and unreality. Of these, sincerity, excitement, reality, influence, and mysteriousness had significant effects on brand imagery; sincerity particularly exerted a relatively more substantial influence on brand imagery. Also, influence, mysteriousness, excitement, and relativeness impacted performance positively, and exaggeration impacted performance negatively. This indicated that a well-constructed brand story with authenticity and fictionality had a positive impact on the brand image. Excitement, mysteriousness, reality, relativeness, sincerity, and influence of a brand story had significant effects on brand judgement. In contrast, only excitement and influence positively impacted brand feelings, and unreality had a negative impact on feelings. The exciting and influential brand story impacted brand attitude. Also, brand image and attitude positively impacted sharing and purchase intention, while brand performance did not affect recommendation intention. These findings contribute to identifying a brand story's attributes, authenticity, and fictionality and provide insights for marketers on creating brand stories to increase brand image and attitude and to build customer-based brand equity.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.484-498
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• 2009

The purpose of this study is to explore the applicability of QFD to product development of clothes by empirically applying it to development of a specific clothes, middle and elderly women’s formal knitwear. The voices of customers(VOCs) for formal knitwear was collected through in-depth interviews with 25 customers, shop masters, and designers. Also, questionnaires of which respondents were 230 customers were used to rank the importance of the items of VOC. A QFD team of 10 knitwear experts implemented the task of translating VOCs into design attributes and measuring the values of the relationships between VOCs and design attributes. Importance ranking of the items of design attributes was obtained based on Lyman's method. The results of this study were as follows. First, the customer requirements for formal knitwear were classified into five dimensions, that is, symbolism, aesthetic, fitness, usefulness, and maintenance. Second, the descending order of the necessity of improving the quality was maintenance, aesthetic, fitness, usefulness, and symbolism. Third, three-staged design attributes were obtained as a result of translating of VOCs into design attributes. Lastly, the descending order of the importance of design attributes was "sorts of yarn", "sorts of color jacquard", "color", "tone", "ease", etc.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.751-765
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• 2011

The purpose of this study is to apply the Trencadis images in Antony Gaudi's work to a design motive and thus provide a new concept for a knitwear design by combining double-knitted fabrics with patchwork applique, taping, stitching and quilting. This study examines the bibliographic text and precedent research related to Antony Gaudi and his works, and analyzes the historical background and formative and stylistic characteristics of Trencadis as it appeared in Gaudi's architectural works. Also this study also examines the characteristics of knitwear and knitting theory while exploring the formative elements and the combined techniques used in modern knitwear design through fashion magazines, medium images, and online sources. The results are as follows: First, Gaudi's work that applies a Trencadis technique has the characteristic of being creative, organic, and environmentally friendly. And in addition, its colorfulness inspires modern fashion design. Second, computerized knitting has been practiced in various ways and the fabrics knitted by both double-knitting jacquard and computerized knitting machines provide a new direction the creation of knitwear. A computerized knitting machine is especially effective for pictorial expression, and is suitable for showing the natural curve of the human body due to its sophistication. Third, as a result of applying a combined technique to the knitting of various fabrics, a combined or fusion design, which is a recent megatrend, is very effective for the design of knitwear while increasing its aesthetic value. Moreover, utilizing techniques that combine patchwork applique, taping, stitching and quilting will create higher value in knitwear. Lastly, with a project of applying combined techniques in the creation of knitwear, designers can become much more creative while taking their imagination much further.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.173-180
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• 2008

Cotton, wool, cotton/wool blended (80:20) and tencel fabrics were treated with low temperature oxygen plasma, enzymes (cellulase or protease), or oxygen plasma-enzyme and they were examined for dyeing and handling properties for environment friendly finishing. The appropriate conditions for cellulase treatment were enzyme concentration of 3g/l, pH of 5, and $60^{\circ}C$ for one hour, and for protease treatment were enzyme concentration of 4g/l, pH of 8, and $60^{\circ}C$ for one hour. The equilibrium uptake of a direct dye on cotton changed with plasma treatment and plasma-cellulase treatment, and the rate of dyeing slightly decreased. When wool was dyed with acid dye, the equilibrium dye uptake did not change with plasma, protease treatment nor plasma-protease treatment, however, the rate of dyeing had increased with plasma-protease treatment. From these results, it is assumed that plasma attacks the surface of the fiber, and enzyme mainly affects the inner part of the fiber. Plasma treatment did not affect mechanical properties related to the handling of fabrics. The handling test showed increased extension at maxmum load(EM), tensile energy(WT) with decreased tensile resilience (RT), and the fabrics became softer but resilience decreased slightly with enzyme treatment. The bending recidity(B), hysteresis of bending moment(2HB), and hysteresis of shear force at five degrees(2HG5) decreased, however, shear stiffness(G) increased. I knew the plasma pre-treatment made fabrics softer with lower koshi(stiffness). The handling of plasma pre-treated fabrics was better than that of enzyme-treated fabrics. When we pre-treated fabrics, the handling test showed decreased coefficient of friction(MIU), geometrical roughness(SMD), while the surface of fabrics became smoother and numeri increased. Even though compression resilience(RC) increased, fukurami(bulky property) and compressive elasticity, decreased due to the linearity of compression-thickness curve(LC) and compression energy(WC).

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.137-148
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• 2008

This article investigates the production process of knitwear focused on patterns and armhole forms in order to provide basic data for its value-added production. This study was based on empirical data obtained by questionnaires given to 51 respondents employed at knitwear companies. The data had been statistically analyzed with frequency analysis, one-way ANOVA, and Duncan test. The results of this study are the following: First, many knitwear companies used knitting machines, which had gauges as high as 14G. Second, most knitwears companies did not use patterns in the production process. Third, most knitwear companies produced knitwears in which armhole lines were different between the front part and back part of the body, while identical between the front and back parts of the sleeves. Fourth, people with experience in the knitwear industry had the tendency to recognize that armhole lines should be different between the front part of both the body and sleeves and their back part as well, and workers in charge of knitting recognized better than programmers and designers did. Considering the opinions of experienced workers that armhole lines differ between the front and back parts of both the body and sleeves would improve the appearance of knitwear, this study also suggests knitwear patterns of 10G and 16G by using ESMODE's basic knitwear pattern.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.43-51
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• 2009

The cotton, wool, cotton/wool blended(80:20) and tencel fabrics were treated with low temperature oxygen or argon plasma, enzymes(cellulase or protease), or oxygen plasma-enzyme and examined for their weight loss and conditions for treatment for the environment friendly finishing. In the plasma treatment argon gas had better effect on the weight loss than oxygen gas did and the weight loss of all the fabrics was increased as increasing discharge power and discharge time. The weight loss of cotton, wool, cotton/wool blended(80:20) fabrics decreased in a large measure after 1 hr but that of tencel didn't decrease after 1 hr. In case of cellulose fibers oxygen gas plasma induced chemical functional groups on the surface of substrate more than argon gas plasma did so the weight loss of wool was larger than that of cotton, tencel fabrics in oxygen plasma-enzyme treatment. The weight loss of cotton and tencel fabrics decreased the initial stage because oxygen plasma pre-treatment caused cross linking as well as etching effect but argon plasma pre-treatment didn't. The plasma pre-treatment cleared the way for enzyme treatment on the whole but oxygen plasma pre-treatment bear in hand the increase of weight loss more or less because of the cross linking on the surface of cellulose fibers. The appropriate conditions for plasma treatment was 10-1Torr, 40W for 30minutes and for cellulase treatment were enzyme concentration of $3g/{\ell}$, pH 5, $60^{\circ}C$ for 1hr and for protease treatment were enzyme concentration of $4g/{\ell}$ pH 8, $60^{\circ}C$ for 1hr.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.125-138
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• 2008

For physical and hand property evaluation of fabrics, the knitted fabrics from 11 types of machines knitting fancy yarns, boucle (M1), knot (M2), snarl (M3), and slub (M4), tamtam (M5), tubular (M6), fur 1 (M7), bead (M8), fur 2 (M9), fur 3 (M10), and ladder (M11) yarns, were prepared with 7-10 G plain stitch. Washing test and pilling test had also been carried out. For hand properties by objective sensibility evaluation, 17 items of sir mechanical properties using KES-FB (Kawabata Evaluation System) had been measured. Then hand values of knitted fabrics were calculated with a calculation formula, namely KN-402-KT. Finally the total hand values were obtained through KN-301-WINTER. As a result of physical properties and objective evaluation for machines knitting fancy fabrics, most of them shrank in the direction of wale and course after the washing test, in which their shrinkage rate had a maximum of 3.5%. Therefore, the washing test indicated that the shrinkage ratio of knitted fabrics had a minor change. The results of the pilling test are mostly 4-5th grade, and all of the machines knitting fancy fabrics showed good results in the pilling resistance. In hand properties and objective sensibility evaluation, twisted fancy yarns, such as boucle (M1), knot (M2), snarl (M3), and slub (M4), were superior to bonding rigidity (B) and shear rigidity (G). The surface property between course and wale differs in all samples and course direction is tougher than wale direction. FUKURAMI (fullness and softness) of all samples have high values, besides NUMERI (smoothness) of tamtam (M5) and boucle (M1), which were rather good. Most samples except fur 1 (M7) had low KOSHI (stiffness) value. The total hand value (THV) of twisted yarns was low. This study proves that manufacturers, who plan knitting yarn products and knit fashion, can apply these data to develop machines knitting yarns and knits that fit the consumers' demands.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.9
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• pp.1546-1557
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• 2010

This study analyzes the status of foreign direct investment in Korean textiles and fashion firms and investigates the factors determining their performance. A total of 1,251 cases (including 1,116 manufacturers and 135 of distributors from the 2009/2010 Korean Overseas Business Directory published by KOTRA) were used. The results of this study are as follow: 1) In the case of manufacturers, China was the most heavily invested in country, and the Asian region that included China, Vietnam, Indonesia and Bangladesh consisted of 80% total investment. In cases of distributors, China was also the first ranking country and other countries, that included Vietnam, United States, and Japan are major ones. 2) In terms of the foreign entry mode, wholly-owned subsidiaries represented 90% of total cases. As the index of the degree of localization, the ratio of local employees was very high. 3) Different countries were utilized by year, type of business, and area of process. In manufacturers, Indonesia, China, and Vietnam were the most heavily utilized countries in the 1980s, 1990s, and 2000s, respectively. For distributors, China was the major market ill the 1980s and 1990s but Vietnam has emerged as the biggest market in the 2000s. In terms of area of process, China was for manufacturing fibers and fabrics, Vietnam was for most items, Indonesia was for assembly, knit, accessories, and Bangladesh was for embroidery and accessories. 4) The determining factors of the age of foreign business as the proxy index and performance of foreign business entry, were different by the type of business. For manufacturers, four factors including the dollar amount of investment, number of local employees, the mode of foreign direct investment, and entry to China were significant. On the other hand, only two factors including the dollar amount of investment and entry (other than China) were significant distributors.