• Fashion & Textile Research Journal
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• v.1 no.2
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• pp.160-165
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• 1999

The thermal properies of the pure linen fabrics available in the market and linen blended woven fabrics were measured at the moisture content of 0%, 20%, 40% and 60% using KES-F7 system (Thermo Iabo II type). The experimental properties were statistically analyzed by the rate of water absorbent. The main results were as follows; There is a positive correlation between the thermal insulation value (TIV) and thickness of pure linen fabrics and linen blended woven fabrics by water absorption. Whereas an negative correlation exists between the TIV and cover factor. There is a high positive correlation among the thermal conductivity (k), thickness and weight of pure linen fabrics and linen blended woven fabrics by water absorption. Wherase a high negative correlation exist between the k and air' permeability (Ap). There is a high positive correlation between the feeling of warmth/coldness and bulk density of pure linen and linen blended woven fabrics by water absorption. Wherase a high negative correlation exists between the feeling of warmth/coldness and porosity. There is a negative correlation between TIV and $q_{max}$ of pure linen fabrics and linen blended woven fabrics. The higher the rate of water absorbent, the lower the TIV. This means that TIV decreases by water absorption. As for the thermal property by rate of water absorbent $q_{max}$ and k increase by water absorption and reach max-value at 60% rate of water absorbent. The TIV decreases by water absorption and has +value at 0% rate of water absorbent, whereas it has -value with a feeling of coldness at 20%, 40%. and 60% rate of water absorbent.

• Fashion & Textile Research Journal
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• v.24 no.6
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• pp.801-811
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• 2022

In this study, we constructed a database of dyeing concentrations of all reactive dyes used for dyeing linen according to the thickness of the linen fabric and attempted to improve the reproducibility of the dyeing process for the commercialization of linen fabric materials. Linen fabric is a natural cellulose material that is comfortable and suitable for eco-friendly trends. It is a typical summer material with excellent breathability and thermal conductivity, quick moisture absorption and dissipation, and a cool touch. Dyeability and fastness were evaluated depending on the thickness of the linen fabric using a monochlorotriazine (MCT) reactive dye and bifunctional yellow, red, and blue dyes. All three colors of the MCT reactive dye and bifunctional dyes exhibited a darker shade as the fiber thickness of the marker increased. Fastness to washing was excellent at grades 4-5 or higher, regardless of the color of the dye and the number of linen fabrics. Although some color-fastness differences were noted, with the color change occurring most frequently with blue color, the fastness variations with dye type were mostly similar. The results of this study are expected to facilitate the selection of reactive dyes according to the thickness of the linen fabric based on the basic data from the laboratory, which will aid in the mass production of linen fabric and benefit the fashion industry.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.1008-1016
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• 2014

This study aims to analyze the changes in the mechanical properties of woven fabrics(cotton, linen, wool, silk, and polyester) by bonding fusible interlinings with varying deniers(10D, 20D, and 30D) for a 3D virtual try-on system(one that a user to try garments through screens using Avatar) developed over the last decade. We experimented with four mechanical properties and thicknesses of twenty-three specimens of interlining bonded fabrics including face fabrics and interlinings by using the KES-FB-AUTO system. The results showed that the tensile property increased(LT and RT increased and WT decreased) as the denier of the interlining increased; however, the change was slight. In contrast, the bending and shear properties increased significantly as the denier of the interlining increased on both the warp and the weft. This showed evidence that the interlining gives the fabrics size stability. The compression property was slight changed as the tensile property varies depending on the fibers and the denier of interlining. As expected, the thickness increased by bonding the interlining as the denier of interlining increased. From these results, we conclude that 3D users need to reflect these changes of woven fabrics by bonding interlinings when they try screen fittings to accurately express the fabric reality of manufactured garment.

• Korean Journal of Human Ecology
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• v.12 no.3
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• pp.377-389
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• 2003

The purpose of this study is to obtain the symbolic meaning of the priestly costume through the Bible. Based on corroborative the Bible, this thesis analyzes the costume of priest. This compares the two onyx stones on the shoulder pieces with four rows of precious stones on the breastpiece. This era falls on about from the 15th century before Christ. It was found that the breastpiece was a piece of the same multicolored linen as in the ephod, a span square when folded double. It symbolizes righteousness. It hung on the high priest's chest, supported by two golden chains attached to the shoulder clasps. It symbolizes love. On the breastpiece were twelve beautiful jewels, arranged in four rows of three jewels, each jewel symbolizing one of the tribes of Israel. The variety of jewels on the breastpiece suggests the variety of people. Urim is the Hebrew word for 'lights' and therefore would logically be associated with bright or white stones. Thummim is the Hebrew word for 'perfection'. The high priest's ephod was made of gold, and of blue, purple, and scarlet yam, and of finely twisted linen. The golden yam symbolizes faith. The robe of the ephod was made entirely of blue cloth. The blue color symbolizes an obligation and life. The robe of the ephod symbolizes calling and dignity. The woven tunic symbolizes holy duty.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.53-65
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• 2001

The major purpose of this study is to obtain the evident and visual structure of costume of priest with symbol through the Old Testament. Based on corroborative the Old Testament, this thesis analyzes the costume of priest. This compares Aaron with his sons. This compares the two onyx stones on the shoulder pieces with four rows of precious stones on the breastpiece. This compares the robe with the woven tunic. This era falls on about from the 15th century before Christ. The crafts men whom God have endowed with skill make the vestments. Due to the christian religion, the body was entirely concealed. The costume of priest were not only used as dignity but also grandeur. According to the Old Testament the colour of the costume has signified not only the colour sense but also important symbolic meanings. The priest wore, over undergarments, a woven tunic, and he wore over the tunic, a robe, an ephod, a breastpiece, a sash, using a turban as head covering. Gold, and blue, purple and scarlet yarn, and fine linen are used. Aaron and his sons must wear them whenever they enter the Tent of Meeting or approach the altar to minister in the Holy Place, so that they will not incur guilt and die.

• Science of Emotion and Sensibility
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• v.20 no.2
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• pp.117-126
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• 2017

In this study, moisture transport characteristics for the woven and knitted fabrics made of 8 kinds of fiber materials using MMT (moisture management tester) were measured and discussed with the Bireck bt MMT and water evaporating rate (WER) measuring methods, which are vertical moisture transport methods. In addition, the drying property by MMT of the eight kinds of specimens was compared and discussed with the results measured by the vertical drying measurement. MMT experimental result which is horizental moisture transport appeared to be similar to the result of the Bireck method, which is the vertical moisture transport experiment. Absortion time measured from drip method of the fabrics made of the bamboo, linen, and cotton/nylon composite fabrics was short and thus they showed best wicking property, which was attributed to the low contact angle on the fabric surface and high porosity of the fabrics due to the staple yarn structure composed of the hydrophilic staple fibers. In drying property of the fabric specimens by MMT, maximum absorption radius of the dry-zone knit and bamboo woven fabrics were the highest and they showed the best drying property, which was a little different result compared with vertical drying measurement method. Half time of the drying rate in the MMT method was highly correlated with the fabric thickness and saturated moisture absortion rate and their regression coefficients were 0.9 and 0.88, respectively. This means that the knitted and woven fabric design technology for retaining good wicking and drying properties of the fabrics with thin fabric thickness is very important for obtaining high functional wear comfort fabrics. In addition, wicking and drying properties of the fabrics made of different fiber materials and with different yarns and fabric structures showed different results according to the measuring methods.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.1-11
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• 2019

This study examined the cause of the phenomenon of shrinkage in machine-embroidered fabrics, specifically those made of thin and pliable fabrics. Four woven fabrics and two knitted fabrics were selected as samples for analysis. The fabrics selected were silk organza, flax linen, polyester chiffon, cotton batiste, polyester raschel mesh, and cotton jersey. The thickness and drapability of the fabrics were observed and the shrinkage of the various types of embroidered fabrics produced using satin & step stitch techniques were measured. Moreover, the correlation between the shrinkage of the machine-embroidered fabrics and the drapability of the original fabrics was analyzed. Also, the colorfastness of six embroidery yarns was determined. The results of the study are as follows: first, the shrinkage of machine-embroidered fabrics increased at a greater rate than in embroidered knitted fabrics as compared to rates in embroidered woven fabrics. Moreover, in terms of stitch techniques, there was a greater shrinkage rate when satin stitch was applied compared to step stitch. Second, the shrinkage rate of machine-embroidered fabrics decreased when a stabilizer was fused onto the fabric. The shrinkage rate also decreased for fabrics when fused with paper stabilizer compared to those without it, and the rate decreased at a greater amount with paper stabilizer as compared to alginate film. Third, since there was a strong correlation between the shrinkage rate of the embroidered fabric and the drapability ratio of the original fabric, it was generally the case that the more pliable the fabric was, the greater the shrinkage rate was when the fabric was embroidered. Fourth, while the embroidery yarns mainly used in machine-embroidery presented an overall excellent level of colorfastness, there was slight color migration of level 4 to level 5 when using viscose rayon.

• Journal of Fashion Business
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• v.15 no.3
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• pp.112-124
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• 2011

Textile and clothing in Ancient Egypt have carried long history and tradition. Especially, Egyptian textile culture, created mostly by the Copt, has the originality of weaving technology and the artistic beauty of the weaving motifs, making the textiles comparable to modern textiles. The purpose of this study is to research on the characteristics of Coptic textile designs of ancient Egypt and the tunic, a basic garment made of Coptic textiles, and offer materials for the development of the textiles and designs with artistic values which can be shared in the modern era, not just for the research of the relics of the past. Therefore, this study will follow the historical background of Coptic textiles and the process of the development, and look into the distinct features under the categories of material, colors and motifs. In addition, the tunic and its weaving technology will be explained and this will help understand the originality of Coptic textiles. The scope of this study is limited to the period of the 3rd to 12th centuries when the Egyptian weaving technologies advanced dramatically and many of the ancient Egyptian textiles discovered from the grave goods dates back, the research methode of the tunic as well as books published at home and abroad, research paper and photograph works. The textiles had developed along the Egyptian history which was influenced by different cultures such as Greek, Roman, pagan, Christian, and later, Islamic. For the textiles, they used a variety of pictorial motifs including Greek goddesses, pastoral scenes related to the Nile River and animals, human figures, geometrical figures and Christian icons. They are symbolic, natural, and mythological characters, and this explains that the world views and religions of the weavers influenced the development of specific motifs. Coptic textiles was used to make a tunic, a simple straight-sided gown without sleeves worn by men and women and was woven in a combination of linen plain weave and woolen tapestry weave for a tunic. Not only the excellence of the weaving technologies and the beauty of the colors used in the textiles, but also the diversity of the textures through weaving, embroidery, and knotting are detected in Coptic textiles.