• The Research Journal of the Costume Culture
• /
• v.13 no.5 s.58
• /
• pp.844-855
• /
• 2005

The purpose of this paper is to examine which fashion brands are most likely to be investigated by Korean textile firms when they conduct their market trend analyses. The result shows that for the domestic sales, textile firms are most likely to collect and analyze information on the Cheil Textil Co. It is followed by Bean Pole, Chanel, Buberry, Tomboy. For the future domestic sales, textile firms prefers referring foreign fashion brands such as Burberry, ZARA, MaxMara, Missoni, and Chanel. Textile firms majoring exports prefers collecting and analyzing information on D&G followed by Chanel, Gucci, and DKNY. This preference, however, differs when considering exporting areas. Textile firms targeting the French market considers Gucci, followed by Ferragamo, Dior, Louisvuitton. Textile firms targeting the Italian market prefer Chanel, followed by Valentine, ZARA, Gucci, and Armani. Chanel is also top brand for the North American and Japanese markets, and followed by GAP, ZARA, OZOC, Missoni, Munshing Wear. The information content collected and analyzed by textile firms is style, pattern, color, and textile materials for textile firms targeting the domestic sales, while the exporting firms prefer information on color and textile materials proposed and presented by the fashion brands to which they prefer to make reference. The result of this study can be used to effectively and efficiently collect and analyze market information on fashion brands for textile firms majoring the domestic and foreign sales.

• Textile Coloration and Finishing
• /
• v.8 no.5
• /
• pp.76-83
• /
• 1996

Fragrant microcapsules were prepared by in situ polymerization using urea-formaldehyde prepolymer. Lemon oil and migrin oil as susceptible materials were used. The diameter and distribution of the microcapsule were controlled by several factors, such as wall material, core material content, emulsion agent and stirring speed, respectively. Susceptible cotton fabrics with fragrant release functionality were successfully produced by using microcapsule containing fragrant materials.

• Macromolecular Research
• /
• v.17 no.12
• /
• pp.1025-1031
• /
• 2009

Several kinds of biodegradable hydrogels were prepared via in situ photopolymerization of Pluronic F127/poly($\varepsilon$-caprolactone) macromer and acrylic acid (AA) comonomer in aqueous medium. The swelling kinetics measurements showed that the resultant hydrogels exhibited both thermo- and pH-sensitive behaviors, and that this stimuli-responsiveness underwent a fast reversible process. With increasing pH of the local buffer solutions, the pH sensitivity of the hydrogels was increased, while the temperature sensitivity was decreased. In vitro hydrolytic degradation in the buffer solution (pH 7.4, $37^{\circ}C$), the degradation rate of the hydrogels was greatly improved due to the introduction of the AA comonomer. The in vitro release profiles of bovine serum albumin (BSA) in-situ embedded into the hydrogels were also investigated: the release mechanism of BSA based on the Peppas equation was followed Case II diffusion. Such biodegradable dual-sensitive hydrogel materials may have more advantages as a potentially interesting platform for smart drug delivery carriers and tissue engineering scaffolds.

• Journal of Fashion Business
• /
• v.20 no.2
• /
• pp.124-133
• /
• 2016

Currently the fashion industry is developing to create a novel culture due to the very sensitive and knowledge-oriented advancement of the IT industry. With fast turnover of information, consumers have come to have a more diverse desire for purchasing. Cubical expression techniques, which empathizes formativeness, can be a creative expression method adjusting into the trend of this era. Along with functional aspects of consumers, even in a textile manufacturing sector, new materials are required to meet sensitive and emotional aspects. Consumers' desire for new and creative designs and the development and adoption of new materials are essential to meet their emotions. The IT industry and fashion industry are forced to combine and a 3D apparel CAD system has been developed, enabling virtual clothing to be represented within a computer virtual space. All processes such as design, pattern creation, sewing and simulation are possible in 3D level. Digital clothing can shorten the production process time and is very effective in that it can reduce clothing waste generated during the sample production. This paper reviewed the works of Dutch designer, Iris van Herpen, who has developed formative designs. She tries to build, construct, and sculpt employing diversified materials other than soft textile materials, as shown in her series of fashion shows. The materials include films, 3D printed polymers, stiff and sheer organza, and artificial leather textiles. A few characteristics of her works have been selected in order to prepare patterns exhibiting the traits. The paper further focused on the physical features of the textile materials used to express similar techniques and its various forms were reviewed.

• Proceedings of the Korean Society For Composite Materials Conference
• /
• 2001.05a
• /
• pp.38-41
• /
• 2001

A new 2-D braided textile metal matrix composite was developed and characterized. The constituent materials consist of PAN type carbon fiber as reinforcements and pure aluminum as matrices. The braided preforms of different braider yarn angles were fabricated. For a fixed bundle size of 12K, three braider yarn angles was selected: $30^{\circ}$, $45^{\circ}$, and $60^{\circ}$. The braided preforms were infiltrated with pure Al by vacuum assisted squeeze casting. Through the investigation of melt pressing methods and the effects of process parameters such as applied pressure, and pouring temperature, the optimal process conditions were identified as follows: applied pressure of 60MPa, pouring temperature of $800^{\circ}C$. Using the measured geometric parameters, 3-D engineering constants of metal matrix composites have been determined from the elastic model, which utilizes the coordinate transformation and the averaging of stiffened and compliance constants based upon the volume of each reinforcement and matrix material.

• Fashion & Textile Research Journal
• /
• v.15 no.3
• /
• pp.336-346
• /
• 2013

This study focuses on 'texture' as one of the most important fashion and textile design elements; in addition, it proposes various applications of it. Surface texture is indispensable in fashion and textile design that also factors heavily into innovative creations. Along with technological advances in the fashion industry, surface texture has derived many new and attractive features that provide more opportunities for designers to show various design concepts. Rather than the surface quality of fabrics, surface texture in fashion design creates its identity through a manipulation of materials- an application that tends to be primarily for visual effects without being restricted to decorative purposes. The status and significance of surface texture in various creative fields is explored and the evolution of surface texture is traced by analyzing a number of fashion design cases with representative surface textures. The latest feature of surface texture in fashion and textile design is identified to establish a new classification of surface texture with five groups and technical suggestions. This study provides a theoretical basis for this field of study and a new framework that can be employed in the development of surface textures that use innovative techniques as well as the future application of newly-developed textures.

• Fashion & Textile Research Journal
• /
• v.6 no.2
• /
• pp.163-168
• /
• 2004

The domestic textile industry is currently making an active effort to present high value-added materials that can respond immediately to the wants and needs of consumers sensitive to the of originality of design and emotionally appealing fashion materials. This paper attempted to present the creative development of materials in the contemporary clothing culture in which consumers' needs are individualized and differentiated and the cycle of life in fashion materials is getting shorter. To be specific, the paper presented the texture of peculiar expression to diverse cotton materials using the Woolsmok technique in the processing of felt. The chosen Merino wool was felted to 8 kinds of cotton with different density and structure. The touch, texture, visibility and complex susceptibilities of new materials were presented as different materials of cotton and wool were transformed into one material. In felting cotton fiber through wool, the transformation of diverse textures was presented and compared in the method using the washing machine in an attempt to enhance the efficiency of the traditional craft technique and work. This study proposed the possibility of placing the new material made up of cotton and wool beyond the range of functionality of each simple material, activating it as the peculiar material and expanding it to the range of its use as fashion material in the clothing industry. It is expected that this material will become competitive material at home and abroad by being activated as the clothing material of artistry, workability and marketability that can satisfy the tastes of consumers who call for high quality and diversification.

• Fashion & Textile Research Journal
• /
• v.5 no.1
• /
• pp.17-24
• /
• 2003

Objet, which showed up with the art of 20C, is now an important element giving a creative idea to fashion designers in modern times. The purpose of the study is to review how the objet technique was paid attention and recreated in the fashion, through the analysis of works, and the formative features of each technique for fashion, in order to identify the connection of arts and fashion, and the position of fashion as art. The techniques using object appeared in the 20th century fashion are as follows: First, papier-colle, which is adding printed materials onto the surface, is such a technique that adds cut-feeling materials to impose a new texture, or arrange again the cloth-cuts to create a different clothing from the existing one, which went to the extension of materials in the fashion. Second, collage of daily materials expresses directly and emotionally through direct presentation of the objets. Especially, collage of patch-work is reproduced into a new fabric depending on the objet used, giving a standing over the form. Third, ready-made which presents the material meaning only of the objet expands the range of objets which could be used in the fashion by introducing the daily materials having a meaning itself as a fashion. Forth, an attempt to approach to the objets of popular image by designed techniques come out in modern fashion as a graffiti look or a typography look, making the clothing itself an objet to transmit a message directly to the masses. Introduction of various objets and development of expression technique brought out the diversification of materials, and enrichment and extension of expression sphere, which resultingly spreaded the freedom of expression and progressed into the art sphere, making a direct motif to solidify its standing as a formative art.

• Archives of design research
• /
• v.17 no.4
• /
• pp.211-222
• /
• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• Fibers and Polymers
• /
• v.7 no.4
• /
• pp.414-419
• /
• 2006

The paper presents information concerning metrological and technical characteristics of KTU-Griff-Tester device, the optimization of its parameters and the cases of its application. It was defined that the behaviour of textile material during its extraction through a rounded hole depends upon its structure. Variations of geometrical shape of woven and knitted specimens can be described by mathematical expressions of shortened epicycloids and Cassini ovals. It is shown that waving process of disc shaped specimen can be predicted on the basis of the law of sine curve. The examples of textiles treatment with different types of commercial softeners are presented, herewith showing the suitability (sensitiveness) of the new device to detect the changes of textile hand. Meantime it is shown that the level of materials anisotropy can be decided on the basis of transformations of specimen's geometrical shape.