• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.117-136
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• 2014

The purpose of this study is to present a classification system of the hand-made and machine-made lace according to the configuration method and re-make the category and definition of lace to consider the emergence and development of major laces techniques. The re-made category and definition of the lace is as follows. The lace usually consists of ground and motifs, however, the techniques of netting and sprang are suitable for making ground than motif, so I think it is appropriate to exclude them from the category of the lace. Many scholars are excluded openwork embroidery fabric from the category of the lace. But, an openwork embroidery fabric is the basis of a needle point lace called true lace and is consist of motif and ground. I think it is appropriate to include it in the category of the lace. I think it is also appropriate to include in the category of the lace that the eyelet embroidery fabric which mimics the openwork embroidery fabric in the machine. Lace is redefined that a fabric with openwork decoration consists of motif and ground, constructed by a variety of ways such as plaiting, twisting, looping, knotting of threads or embroidering by hand or machine. The classification of the lace is presented as follows. Hand-made lace is classified bobbin lace, needle point lace, embroidery lace, knotted lace, crochet lace, and knitting lace. Machine-made lace is classified raschel lace, leaver lace, torchon lace, and machine-made embroidery laces which include tool lace, eyelet embroidery lace, chemical lace, etc.

• Fashion & Textile Research Journal
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• v.4 no.1
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• pp.19-30
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• 2002

The word 'lace' comes from the Latin, lacium, meaning a knot. There are two broad categories of lace: needlepoint lace and bobbin lace. Lace has enjoyed a multitude of uses, embellishing both liturgical and domestic objects. It has also played a major role in the history of western fashion, adorning the apparel of men as well as women. Lace lappets and cap crowns, cravat ends and veils were made for those who could afford them. Before the end of the sixteen century, more complex techniques were employed. The baroque period, needlepoint lace evolved from the early simple geometric patterns of punto in aria Which enhanced ruffs, to deeply scalloped designs, often referred to as collar lace, and thence to the bold and magnificent relief effects of Venetian gros point. Through the seventeenth century is noted for the infinite variety of its cravat, collar and kerchief, most of them lace trimmed and all artfully contrived for the wearer. The type of sleeve in women's dress reaching just below the elbow, ending in ruffles of lace which was called engageantes. Sometimes the ends of a fichu or headdress decorated of lace. In the nineteenth century, empress Eugenie's love of lace resulted in a marked increase in the use of that lovely, delicate fabrication. It was lavished upon sleeves, hats, capes, and handkerchieves. Entire flounces, parasols, jackets, and shawls of lace were created by skilled lace makers of Europe. By the time this magnificent piece was created, most lace was being produced by machine. Today, the tradition of handmade lace continues, but glorious examples are no longer made. However, the techniques have been taken up and revitalized within the fiber art movement.

• Fashion & Textile Research Journal
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• v.20 no.3
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• pp.353-359
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• 2018

In this study, fused deposition modellig(FDM) 3D printing technology has been applied directly to polyester voil fabric to produce 3D printed lace/voil composite fabrics. A stereolithograpy(STL) file with a lace type 3D modelling under the various thickness were prepared and transformed into a g-code file using a g-code generator. The extrusion conditions for FDM 3D printing were controlled by 50mm/s of nozzle speed, $235^{\circ}C$ of nozzle temperature, $40^{\circ}C$ of heating bed temperature. 3D printed lace/voil composite fabriscs manufactured by 3D printing based on FDM using a thermoplactic polyurethane(TPU) filaments were obtained. To evaluate the mechanical properties and washability of the fabricated 3D printed lace/voil composite fabric, KES-FB system test, washing fastness test and dry cleaning resistance test were conducted. As 3D printing thickness increased, KOSHI, NUMERI, and FUKURAMI of 3D printed lace/voil composite fabric increased. From the results of the primary hand value test, 3D printed lace/voil composite fabrics were confirmed to be applicable to women's summer garments. As a result of the washability and dry cleaning resistance test of the 3D printed lace/voil composite fabrics, all samples were graded 4-5.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.6
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• pp.767-775
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• 1999

The purpose of this study is to investigate the visual sensibilities of brassiere design. Brassieres were divided into three types according to connection of a cup and a strp. In each type Lace was used where the part of the cup divided by Lines which were constructed such as a mold a horizontal a vertical a mixed and an oblique design. As a result 39 brassieres were obtained. The experiment has been done for seven groups which were divided by the type line and lace with 5 semantic differential bi-polar scales and 10 specialists. The data was analyzed using the statistical SPSS package. The major findings of this research were as follows. An oblique design line in the brassiere were effective in making the breast look bigger more buxom and more voluminous. To make the breast look small and unvoluminous the use of a mold in the 1/2 cup brassiere was effective. Also a mold using lace ion the 1/2 cup brassiere had an effect in making the breast look flatter and broader.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.5
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• pp.635-644
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• 1999

The purpose of this study is to investigate the visual sensibilities of brassiere design. Brassieres were divided into three types according to connection of a cup and a strap. In each type Lace was used where the part of the cup divided by lines which were constructed such as a mold horizontal a vertical a mixed and an oblique design. As a result 39 brassieres were obtained. The experiment has been done for the 39 brassieres with 17 semantic differential bi-polar scales. The subjects were 60 female students majoring in clothing and textiles, The data was analyzed using the statistical SPSS package. The major findings of this research were as follows. 1. As a results of the factor analysis, 3 factors(Attractiveness Appearance. Cuteness) were found to be constructing factors for brassiere image. 2. There were significant differences in the visual evaluation of brassiere design especially in the change of lace. 3. As a result of the regression analysis the images affecting preferences were pretty fascinating natural appropriate sexy and clean.

• Proceedings of the Korea Association of Information Systems Conference
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• 2002.11a
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• pp.78-92
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• 2002

• Journal of Environmental Science International
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• v.22 no.12
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• pp.1611-1614
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• 2013

Corythucha marmorata Uhler was newly recorded in Korea as a invasive species at Pohang-si, Gyeongsangbuk-do, Korea in 2011 and at Changwon-si, Gyeongsangnam-do, Korea in 2012. Adults of this species show reticular forewings with a lot of transparent membranes and also show pterigoid process of paranotum with strong processes. This invasive species was originated from North America, and then intruded into Europe and Japan. This species is presumed became an epidemic horticultural pest at present and it is injuring almost of Asteraceae leaves. It was presumed that the invasion of Corythucha marmorata into Korea was prior to September of 2011.

• Korean journal of applied entomology
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• v.35 no.2
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• pp.137-139
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• 1996

The sycamore lace bug, Corythucha ciliata (Say), attacking a sycamore tree, Platatanus orientalis L., was first found in Korea, and was widely distributed in the central part of the country. The adult was milky white in color and 3.0-3.2 mm long, and the matured nymph was black. Heavily infested trees appear yellowish white as a result of feeding by the nymphs on the under surface of leaves.

• Nuclear Engineering and Technology
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• v.53 no.2
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• pp.509-521
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• 2021

In this paper, from a review of the size distribution of the bubbles during pool scrubbing obtained from experiments by EPRI, we apply the bubble size distributions to analyses on the decontamination factors of pool scrubbing via I-COSTA (In-Containment Source Term Analysis). We perform sensitivity studies of the bubble size on the various mechanisms of deposition of aerosol particles in pool scrubbing. We also perform sensitivity studies on the size distributions of the bubbles depending on the diameters at the nozzle exit, the molecular weights of non-condensable gases in the carrier gases, and the steam fractions of the carrier gases. We then perform analyses of LACE-ESPANA experiments and compare the numerical ~ results to those from SPARC-90 and experimental results in order to show the effect of the bubble size distributions.

• The Research Journal of the Costume Culture
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• v.16 no.6
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• pp.1019-1034
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• 2008

The purpose of this study is to grasp creation background and social position of courtesan which is treated in social and cultural context and its effect on fashion and research representative courtesans from ancient hetaera to the 19th century and their costume characteristics. Its another purpose is to analyze the costume of Violetta, who is a heroine of opera and its costume characteristic as a courtesan. Most Courtesan clothing were made from bright color, silk and lace which were light, or transparent materials. Using silk and cashmere which were the symbols of class, she took the cutting edge fashion and struggled to break the social barriers. The clothing which the Courtesan wore always became a gossip among people and popular to the designers who could show their creativities because the Courtesan boldly wore the cloth like movie actresses or stars. The Courtesan who led the fashion not only showed the fashion as a simple expression of the beauty but also as a socio-cultural phenomenon which reflected their social awareness with arts, and changed according to the situations of the time and people. Violetta's party dress which was shown in the first and third acts of showed the shoulders and chest because of the deep and wide cut decollete, the waist was tightened with a corset as much as possible, and the opulent hips were inflated by the crinoline so when they walked it was swaying. Also it was decorated with splendid materials such as silk and lace, and sparkling jewels, fans, and neckless and even in case of the general clothing in the second act, it was decorated with braids and lace, frills and ribbons. In the third act, the weakness of the sick woman who was closing her life as the splendid Courtesan was emphasized by using colors of white and light purple and thin transparent materials.