• Korean Journal of Human Ecology
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• v.13 no.5
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• pp.787-798
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• 2004

This research was designed to compare clothing fabric images between on- and off-line by fabric types and its characteristics. 125 subjects who have a fashion design major evaluated the fabric image of various 16 kinds of specimens on- and off-line. Frequency, x2-test, t-test, and Pearson correlation were used for statistical analysis by SPSS WIN 11.0. The results of this study are as follows: 1. The advantage of on-line shopping includes low price and purchasing convenience, etc. On-line shoppers mostly purchase clothing items, such as T-shirt and slacks. In most cases, texture of fabrics provides a main cause for the shoppers' discontentment with internet shopping. 2. The results of t-test for the difference of the evaluation score show that plain or pile weave and highly thick or thin fabrics-for example, Organdy, Corduroy, Nylon Taffeta, Plush, etc.-have a large difference between on-and off-line image. On the other hand, medium-thick twill weave-for example, Tweed, Flannel, etc.-or patterned weave-Chiffon, Dobby fabric, etc.-shows a small difference. 3. The results of correlation of the evaluation score indicate that wool twill fabrics like Tweed, Saxony, and Polafleece show a high correlation between two kinds of evaluation score. In texture preference, no correlation exists between on-line and off-line. 4. With an analysis on fabric image evaluation by fabric characteristics, smooth, shiny pink Satin was found the most positively-evaluated item in all evaluation fields except in pattern preference and individuality. On the other hand, thick olive green Corduroy was evaluated most negatively in the fields of elegance, luxury, and feminine. 5. When compared with real ones, thin fabrics provide a different on-line fabric image. For example, Nylon Taffeta and Organdy were evaluated positively on-line because of luster and pastel tone color. However, lusterless uneven cotton Seersucker was evaluated negatively. 6. Real fabrics preference is more negative than on-line ones. In addition, patterned or unique fabrics display a high agreement between the two kinds of images.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.32-43
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• 2006

Excavated fabrics from Papyeung-yun's tomb totals at 208 in their numbers. They comprised 118 pieces of silk tabby(紬), 16 pieces of thin silk tabby, 8 pieces of thin filament silk tabby (絹), 43 pieces of satin damask(段), 8 pieces of compound satin(金線), 1 piece of twill(綾), 1 piece of complex gauze(羅), l piece of simple gauze(紗), 4 pieces of cotton(綿布), 4 pieces of hemp(麻布) and 3 pieces of ramie(苧布). As shown in the preceding list, $95\%$ of all the items are weaved from silk. To list a few characteristics of excavated fabrics from Papyoung-Yun's lineage, there are A vivid gold-colored compound satin, a uniquely patterned satin damask, various silk tabbies, and 4-end complex gauze of Neoul that is women's head cover. To note, names of the fabrics used in this article are based on the information from the literatures and are as following silk tabby(紬), thin silk tabby, filament silk tabby(絹), satin damask(段), compound satin(金線), complex gauze(羅), simple gauze(紗), cotton(綿布), twill(綾), hemp(麻布)and ramie(苧布).

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.88-101
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• 2011

This study emphasizes on the characteristics of the excavated fabrics from the tomb of Kimwhoak in the late 16th and early 17th centuries. All of 118 kinds of fabrics are used in excavated costume from the tomb of Kimwhoak. Classified by its materials, it is divided into small groups as follows: 63 pieces of spun silk tabby(53.6%), 14 of spun yarn silk(11.9%), 13 of thin filament silk tabby(11.0%), 8 of thin silk tabby(6.8%), 4 of satin without pattern(3.4%), 3 of filament silk tabby(2.5%), 3 of twill without pattern(2.5%), 2 of satin damask(1.7%), 2 of mixture fabric with silk and cotton(1.7%), and 2 of ramie fabric(1.7%), 1 of simple gauze without pattern(0.8%), 1 of damask with supplementary gold thread(0.8), 1 of cotton(0.8%), 1 of etc(0.8%). Classified by ways of weaving: 106 pieces of plain weave(89%), 6 of satin weave(5%), 3 of twill weave (3%), 1 of gauze weave(1%), 1 of compound weave(1%) and etc(1%). In point of patterns, the most of textiles are without pattern, there are only two of them are patterned textile. such as lotus patterns with vine, peony patterns with vine. Their patterns are very similar to those of other tombs in the same age.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.190-197
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• 2008

Weaving design which is to be designed based on the machine words threading and treading is characterized by its strong limitation of expression. The concept of design has been set based on the patterns on the wooden rice-cake mold which arechosen from many Korean traditional patterns since the expressions of patterns limited by the wooden rice-cake mold is easy to be grafted upon each other. Particularly, literal patterns and geometrical patterns contain religious desire and wishes that are generated from man's fear and wonder about Nature rather than from the pursuit of beauty which is general characteristics of patterns. Based on these images, the twill technique, especially threading of Sally Nielson's rosepath which is easy in formal expressions is used to design Korean style patterns into the weaving structure. It is hoped that this study will provide an opportunity to introduce Korean style patterns to the weavers of the world and that the weaving designs will actively be utilized in the Korean industries so that they can acquire high value-added assets and commercialize our superior culture, thus being of great help to developing our cultural industr.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.101-115
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• 2001

This study is to examine the characteristics of fabrics in Koryo dynasty by reviewing the fabrics for enshrining oblations inside a buddhist statue in MoonSoo temple, which are currently possessed in SooDuk temple. The research results follows : The fabrics are 33 pieces in total : 28 Pieces of normal fabrics, 5 pieces of fabrics that is used for covering the five grains, and others like variegated silk threads. Out of 33 pieces of fabrics are there 31 pieces of silk and 2 pieces of ramie. The tabby fabrics, which have the most pieces among the fabrics, are 11 pieces in total. There are 1 piece of designed tabby fabri. whose patterns are expressed by dyeing. as well as non-designed tabby fabric. The twill fabrics are 8 pieces in total. Its patterns are mainly the type that small patterns are consecutively reiterated. And they have various patterns including plant patterns, such as lotus pattern, flower pattern. etc., animal patterns such as dragon pattern. etc., geometric patterns. such as turtoise-shell pattern. swastika, etc. The leno and gauze fabrics are 1 piece of 4-end complex designed-gauze and 1 piece of gill gauze. The compound woven fabrics are 2 pieces of brocaded gauze and 3 pieces of brocaded twill. Brocaded gauze is a kind of brocaded fabrics and is made by adding a gold thread between wefts of already weaved gauze. The figured fabrics are 1 piece of tabby fabric, 6 pieces of twill fabrics, 4 pieces of leno and gauze fabrics, and 5 pieces of compound woven fabrics. All of them are 16 pieces out of all 33 pieces and amount to almost 50%. Single-patterned fabrics, that is one pattern is expressed individually, are much more than any others. Plant patterns are the ones that are used the most.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.81-95
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• 2001

The purpose of this study is to categorize the typs of fabrics and to analyze weaving method and pattern design on the silk fabrics from Jang-Gi Jung s tomb. The conclusions of this research are as follows. 1) Among the 32 pieces of excavated clothes, 90% of them were made of silk fabric and 65% used patterned silk. I would assume, therefore, that the tomb was owned by a person of higher society who could afford the best clothes of the time. 2) The weaving methods of silk include tabby, twill damask with different direction (2/1 warp faced ground, 1/3$\cdot$1/4 weft faced pathern), self-patterned satin damask (4/1 warp faces ground, 1/4 weft faced pattern), and brocaded satin damask. 3) The arrangement of the motifs and the kinds of patterns on these silk fabric can be divided into two categories: first group is allover arrangement of peony or lotus and second group is the scattered arrangement of omen of luck. 4) Two pieces of fabric was stamped and the letters of the stamp make me to think about the possibility that the fabrics are from China. But to make this paint clear more relics of this kind should be excavated so that further research can be done.

• Journal of the Korean Home Economics Association
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• v.43 no.5 s.207
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• pp.43-55
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• 2005

This research was designed to investigate and compare the characteristics of preferred clothing textiles for slacks and skirt of college students. One hundred five subjects majoring in fashion design were surveyed and the subjects selected three favorite materials among 120 samples presented in a swatch book. The subject's weighted frequencies were added tv order of preference. The results of this study were as follows: 1. In the spring and fall seasons, black twill cotton drill was preferred foremost as a textile for slacks, and medium gray basket weaved cotton pinhead with stripe pattern was preferred as a textile for skirts. 2. In summer, dark bluish gray plain linen crash was the most preferred material for slacks, and pale yellow plain linen tropical cloth was preferred for skirts. 3. In winter, olive gray cotton corduroy was the most favorite textile for slacks, and moderate brown twill wool hound check was preferred for the skirt. 4. In thickness and weight, textiles for winter were thicker and heavier than those chosen for other seasons, and textiles for skirts showed various thicknesses and weights as compared with those of slacks. 5. In fiber content, natural fibers such as cotton and wool were preferred for an seasons. 6. In the weave of textiles, twiu we,3ve was preferred for spring, fall and winter season, and plain weave was preferred for summer. 7 The most preferred colors for slacks were B and PB, and those for the skirts were YR and PB. For color characteristics, solid fabrics were generally preferred, and patterned fabrics were preferred for skirts as compared with slacks.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.113-128
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• 2004

This study examined textiles used for ancient costumes of the $16{\cdot}17th$ century in Joseon period, focusing on fabric types and patterns of the costumes from tombs. The purpose of this study was focused on investigating the relationship between fabrics and social backgrounds, especially change in using fabrics through the war from Hidyoshi's Invasion of Korea in 1592. Since the war must have had an effect on the life of people's. The result of the study is that silk occupies $69{\%}$ of all textiles, and cotton, 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 Period, were considerably decreased in Joseon Period. Types excavated fabrics in the $16{\cdot}17th$ century Joseon period can be said various. Of this, silk was the most remarkable one till Hidyoshi's Invasion of Korea in 1592, when the ratio of patterned silk dramatically decreased. Contrarily, the ratio of cotton and plain fabric increased rapidly in Hidyoshi's Invasion of Korea in 1592. It is supposed that the result is largely due to unusual condition of the war time. After the war, it is estimated that use of pattened fabric as well as silk was decreased. Patterns of textile fabrics in $16{\cdot}17th$ century were various. In result of surveying a trend of increment and decrement, it is known that the ratio of patterned textile fabrics decreased dramatically in Hidyoshi's Invasion of Korea in 1592 and Manchu war of 1636. Tendency of textile use by social Position is more notable. It is appeared that a lot of silk fabrics were used in High hierarchy. The excavated remain and ratio of silk were the highest in Kyonggi Province including Seoul.