• 한국생활과학회지
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• 제15권3호
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• pp.439-447
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• 2006

The purpose of this study is to explore the accuracy and reliability of subjective evaluation instruments in evaluating sensibility of similar fabrics, Kendall's coefficient of concordance W (agreement among subjects) and Spearman rank correlation coefficient (reproducibility after 1 week) were used to evaluate which one is more efficient. Eight kinds of linen-like silk fabrics finished with polyurethane resin were used, Subjective evaluation instruments such as rating scale method, contrasting method against a control, rank ordering method, paired comparison and Quad analysis were used, 'Stiffness and Pliability' and 'Preference of summer fabric' were estimated, From the result of subjective stiffness and pliability, which are effective on objective properties of fabric, the rating scale method in Kendall's coefficient of concordance W and Quad analysis in Spearman rank correlation coefficient were given the highest score, From the result of subjective preference of summer fabric, which are effective on individual sensibility, contrasting method against a control in Kendall's coefficient of concordance W and Quad analysis in Spearman rank correlation coefficient revealed the highest score, Regarding the accuracy, reliability and efficiency, Quad analysis was an efficient method for subjective evaluation of linen-like silk fabrics.

• 복식
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• 제53권4호
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• pp.113-129
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• 2003

This study examined textiles used for the ancient costumes that are excavated from tombs of the Chosun dynasty, focusing especially on Po(overcoat). The result of the study is that silk occupies 79.8% of all the textiles used for Po, and cotton and linen follow. The weaving method of silk was primarily plain and satin weaves. However the use of twill, gauze, and double weave, that had led weaving methods of silk during the Koryo dynasty, are considerably decreased in Chosun dynasty. Danlyeong(단령) and Cheollik(첩리) had been made of various textile fabrics like cotton, linen, silk and blended fabric before Imjinwaeran(임진왜란). After the war, they were simplified in gauze weaved silk or satin weaved silk, And also patterned fabric were widely used for them than other Po. Simple fabrics like cotton, linen and plain weaved silk had been used for Aekjureum(액주름) and Jiklyeong(직령) before Imjinwaeran. After the war, Jiklyeong was used as underwears of Danlyeong, so it was made of high quality patterned silk. Dopo(도포) and Changuiryu(창의류) were mainly excavated from tombs after the war, high quality plain weaved silk are used than gorgeous Patterned silk. For the Dopho(답호) and Bansuui(반수의), before the war, they were made with various textiles such as plain weaved silk, twill weaved silk, satin weaved silk, cotton, linen, and blended fabric. But after the war plain weave was mainly used. In Jangui(장의), since it was mostly for women, many kinds of women's patterned silk were used in than any other Po. There were only a few excavation of Simui(심의) and most of them were made of ramie and were hemmed in black satin without pattern.

• 한국생활과학회지
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• 제12권3호
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• pp.363-376
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• 2003

The purpose of this research was to investigate the property of sensibility of silk fabrics by the linen-like finishing-used polyurethane resin. Subjective evaluations of preference and related sensory descriptors were estimated. Also, related physical and psychological variables were measured. And their correlations were investigated. The value of EM, WT, WC, MIU, and qmax of silk fabrics treated with polyurethane resin decreased and LT, B, 2HB, G, 2HG, 2HG5, and SMD increased. Physical variables which affected on the preference of summer fabrics are B, 2HB, G, 2HG5, qmax, MIU and LT. It was confirmed that silk fabrics treated with polyurethane resin were preferred as a summer fabric. Individual sensibilities that had effects on the preference of summer fabrics were softness including rough and cold. The intensities of weight value on sensory descriptors, which were related with the preference in summer environments, were in following orders: cold, rough, slippery, flexible, stiff and damp. There was no relationship between the subjective evaluation of preference and related sensory descriptors on the fabric and comfort sensation of fabric was derived from psychological variables

• 한국의류학회지
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• 제27권12호
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• pp.1368-1373
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• 2003

본 연구에서는 견직물에 강경한 촉감을 부여하여 한복지 뿐만 아니라 현대의 패션경향에도 부합되는 소재를 개발하고자 하였다. 견직물에 강경성을 부여하기 위하여 의마가공용 폴리우레탄 수지를 이용하여 수지농도와 큐어링온도에 따른 수지부착율을 조사하였고, 여기에 수반되는 물리적 특성의 변화를 살펴보았다. 또한 가공된 견직물의 세탁에 대한 내구성도 살펴보아 동시에 실용가능성도 검토하였다. 이상의 연구를 통해 다음과 같은 결과를 얻었다. 1. 의마가공용 폴리우레탄 수지를 견직물에 처리할 경우 수지 농도가 증가할수록 수지 부착량이 증가하였다. 2. 열처리온도를 변화시켜 수지부착량의 변화를 살펴본 결과 열처리 온도가 증가할수록 수지의 부착량이 감소하여 본 실험에 사용된 수지의 적정 열처리 온도가 160-18$0^{\circ}C$인 것을 고려해 볼 때 견직물의 경우 17$0^{\circ}C$의 열처리 온도가 적절한 것으로 나타났다. 3. 수지 처리된 견직물의 역학적 특성치의 변화를 살펴본 결과 RT, EM, MIU값은 감소하는 경향을 가지며, LT, B, 2HB, G, 2HG, 2HG5값은 증가하는 경향을 나타내어 폴리우레탄 수지처리로 의마가공 효과를 갖는 견직물을 얻을 수 있었다. 4. 수지 처리된 견직물의 역학적 특성치는 물세탁 후에도 크게 변화가 없어 세탁에 대한 내구성을 지니고 있는 것으로 나타났다.

• 한국감성과학회:학술대회논문집
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• 한국감성과학회 2002년도 추계학술대회 논문집
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• pp.209-214
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• 2002

본 연구는 고부가가치의 섬유를 개발하기 위해서 얻어진 다양한 태 특성을 가진 직물의 적절한 용도를 감각적 감성평가를 통해 밝히려는 목적을 가지고, 첫번째 단계로 의마가공용 폴리우레탄 수지로 가공처리한 견직물의 선호감성에 영향을 미치는 직물의 개별감각특성을 알아보고자 하였다. 의마가공용 폴리우레탄 수지를 이용하여 다양한 강경성이 부여된 견직물에 대한 인간의 주관적인 감각을 평가하고 객관적인 특성과 연관지어 보았다. 강경성이 다르게 제작된 견직물과 시판모시로 구성된 9종류의 직물의 까실까실하다, 매끄럽다, 습하게 느껴진다, 뻣뻣하다, 차다, 하늘하늘하다의 6개의 개별감각과 촉감이 좋다와 여름철소재로 선호한다의 종합적 평가를 행하여 9종류의 직물의 위치도를 작성하여 여름철소재의 선호감성과 촉감, 직물개별감각과의 관계를 분석하였다. 분석결과 여름철소재의 선호감성에 영향을 주는 직물의 개별감각은 부드러워서 촉감은 좋지만 까실까실한 감각이 있어 다소 차게 느껴지는 감각임을 알 수 있었으며 의마가공된 견직물이 여름철 소재로 선호됨을 확인 할 수 있었다.

• 한국의상디자인학회지
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• 제18권4호
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• pp.141-158
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• 2016

The objective of this study is to examine the type and characteristics of hat, and also to analyze the formative characteristics of hats shown in $Pr{\hat{e}}t-{\grave{a}}$-porter Collection. The literature review focused on the relevant technical books and preceding researches while the case study targeted 1,561 photos of hats shown in the 'Donga TV Collection'. The research range was from the S/S season of 2012 to the F/W season of 2015/16. The results of this study are as follows. 1. A hat is composed of crown and brim. In the results of classifying hats based on it, there were 572 crown-type hats, 533 hat-type, 219 cap-type, 156 irregular-type, and 81 brim-type in the order. 2. For the crown-type hats, they were mainly like cylindrical-type, bell-type, dome-type, and circle-type, using colors like black, beige, brown, red, mustard, and grey, and materials like wool, fur, velvet, straw, and metal while they were decorated with bead or lace. 3. For the hat-type hats, they were mainly like bell-type, ladder-type, and hemisphere-type, using colors like peach, white, gold, brown, and khaki, and materials like silk, cotton, straw, and wool while they were decorated with feather and ribbon. 4. For the cap-type hats, they were mainly like hemisphere-type, using colors like white, black, khaki, mustard, and purple, and materials like fur, leather, and wool while they were decorated with wappen and chain. 5. For the irregular-type hats, they were mainly like sandglass-type, box-type, animal-type, trumpet-type, and bell-type, using colors like purple, orange, pink, yellow, and sky-blue, and materials like metal, feather, mesh, plastic, straw, and linen while they were decorated with ribbon, net, bell, and flower. 6. For the brim-type visor, they were mainly like square-type, using colors like transparent, yellow, and black, and materials like plastic, cotton, leather, and metal.

• 복식
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• 제62권3호
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• pp.137-151
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• 2012

In 1966, $Seokgatap$ pagoda in $Bulguksa$ temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in $Sarigong$(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like $Geum$, $Neung$(twill), $Rha$(complex gauze), silk tabby and linen were also excavated. In this study, $Geum$ fabric from the $Seokgatap$ was closely examined. $Geum$ of $seokgatap$ is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of $Geum$: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. $Geum$ of $Seokgatap$ was made in the $8^{th}$ century, since it was weaved in weft-faced compound weave twill which was popular in the $8-9^{th}$ century. And also, the arrangement of the colors was done in the same way of gradation $Geum$ silk which was popular in the $7-8^{th}$ C in China and Japan. Third, we restored the pattern of $Geum$ of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the $Geum$ of $Seokgatap$ was used for $geumdae$(a pouch made of $geum$) by analyzing all the documents and the characteristics of the fabric.

• 한국염색가공학회지
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• 제21권1호
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• pp.38-45
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• 2009

First of all, the properties imparted to PET fabrics are resistance to and recovery from creasing or wrinkling when wet or dry; high resistance to stretch in the filament yarns but not in the staple; high abrasion resistance; good texture and appearance; resistance to heat ageing; good chemical resistance and good resistance, behind glass, to sunlight. But, the low moisture regain of PET fabric conduces to static troubles in textile processing. Furthermore, garments made from PET may, during wear, develop electric charges which attract to the fabric particles of soil(dirt, swarf, dust) flying in the air, so that the cuffs of shirts, for example, become soiled quickly and are not easily laundered clean. The sericin constitutes 25$\sim$30％ of silk protein and surrounds the fibroin fiber with sticky layer that supports the formation of a cocoon. The useful biochemical properties of sericin protein are oxidation resistant, antibacterial, UV resistant, hydrophilic property, and good affinity with hydrophobic material. These properties can be used as an improving reagent or a coating agent for natural and synthetic fibers, fabrics, and other intermediate products. The sericin is also applied to cross-link, and can be blended with other materials. In this study, we modified the surface of PET fabric by mixture of sericin finishing agent; sericin, polyuretane binder and 1,2,3,4-butanetetracarboxylic acid (BTCA) cross-link agent. Also, we investigated the finshing effect; moisture regain, stiffness, handle, drape and electrostatic. The moisture regain of PET fabric treated with sericin finishing agent was higher than that of untreated PET fabric. As a result of evaluating influence about handle of PET fabrics treated with sericin finishing agent, it was confirmed that the sericin finishing agent could be use as a linen like finishing agent.

• 복식
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• 제44권
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• pp.5-17
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• 1999

This paper studies women's clothing and textiles recorded in the『the Odes』, and refers research materials on the old commentaries about the『the Odes』and the various kinds of records and remains. The results regarding women's clothing in『the Odes』are follow: 1. Ti-i, Chin-i are the women's ceremonial dresses. Ti-i is a kind of the court dress and the shape is a long dress embroidered with pheasant. Chan-i belongs to the lower grade compared with the six ritual dresses worn by the queen and is made of Hu that is a kind of the white soft-wrinkled fabrics. 2. A women's I-Shang is composed of a blouse and a skirt. It is the classic style before the Sh n-I appears in China. Also we find that they use the standard colours for a blouse and the intermediate colours for a skirt in Chou period. 3. Chiung-I, Chiung-Shang and Hsieh-Pen are a kind of the robe put over the former garment made of Chin not to display to elegance. 4. Fu, Ch n-Fa, Pei and T'i are a kind of women's wig. Ti and the six-Chia are women's hair ornaments. Ch'i-Chin and Ju-L are a kind of the working women's turbun. 5. The women's belt ornaments are classified into the practical things and the decorational things like those for men. The results regarding fabrics in the『the Odes』are as follow: 1. The silk fabrics; There are Chin, Hu, Chou, Tz , Su, Hsiu. 2. The woolen fabrics; There is Ho. 3. The linen fabrics; There are the hemp and the ramie in the remains of Chou period. Also there are Ch'ih and Hsi categorized in Ko fabrics.

• 복식
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• 제53권1호
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.