• 한국의류산업학회지
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• 제3권4호
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• pp.373-377
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• 2001

When the polyester/cellulosic fiber mixed fabrics were treated with sodium hydrogensulfate for burn-out printing, it is examined how the effects of process conditions as concentration of acid, fixation temperature and fixation time act onto the properties of the polyester ground fabrics. The print paste, indalca solution, was mixed with sodium hydrogensulfate and glycerine, and then screen-printed on the fabrics. The properties of the polyester ground fabrics after removing away the cellulosic fibers were investigated. The yellowness index and the breaking load of polyester ground fabrics affected by the process conditions, especially dry heat fixation temperature.

• 복식
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• 제50권5호
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• pp.25-39
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• 2000

Raoul Dufy devoted and was involved in textile design between 1910 and 1928. It was a transitional period in fashion. especially Poiret took an important role as a fashion designer at that time. After meeting Poiret, he won the fame as a textile designer rather than a painter, in his early stages, He had been deeply involved in fashion design. For instance Dufy and Poiret shared their world of art, collaborated to mount exhibitions, the Print textile fabrics by Dufy was used for dresses by Poiret and so on. The textile design which showed Dufy's artistic abilities was used as a method of expression of an exchange and a communication between art and fashion in the same period, through collaborations with Poiret. For instance, Dufy as a fauvist created and produced textile designs using his magnificent and cheerful colors and lines. He brought about a revolution in the textile design due to his participation in fashion design, as well as encouraging fashion designers. Textile design by Dufy, which grafted onto his world of art impressed Poiret greatly. It proposed the new direction of the fashion and influenced modern costume. The positive collaborate between Dufy and Poiret provided a momentum to a costume for being a part of art. Textile design as one of the important area in modern fashion needs a design originality for creating a high value-added products.

• 한국의류산업학회지
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• 제4권3호
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• pp.289-292
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• 2002

'Burn-Out' is a kind of printing process that can create many textural effects, also high added value of the fabrics. In the previous studies, it is examined how to burn out the cellulose part of the velvet and the polyester/cellulosic fiber mixed fabric without damage of the other part and the effects of process conditions. In this study, dyeing properties of the colored burn-out printing were investigated with various conditions onto the polyester/cellulosic fiber mixed fabrics with red disperse dye. As a results, the apparent color depth (K/S) is increased with increasing of concentration of dye. The optimum treatment conditions without any shrinkage or occurrence of yellowness on the polyester ground fabrics are fixation temperature of $140^{\circ}C$ and time of 3 minutes.

• 한국의상디자인학회지
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• 제12권4호
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• pp.173-182
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• 2010

In this study, textile designs were developed by applying Norigae for motives, were digital-printed for it's eco-friendly, delicate and short printing time and as final products, necktie, bag and bedding was developed with them. The purposes of this study were to develop a unique textile design, and then to enhance the competitiveness of Korean textile industry in the world market and pass down a Korean traditional fiber art cultural legacy. The results are as follows Norigaes are a sort of Korean traditional ornaments worn on women's Korean traditional costume. These can vary in color, material, shape, composition and said to have very high artistic value from the standpoint of the modern view. And these are symbols of happiness and women's longing of Korean traditional society. So Norigaes are worthy of applying Korean traditional motive for modern textile design. The textile designs applied a Norigae in this study were estimated comparatively high.

• 한국염색가공학회지
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• 제19권3호
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• pp.18-25
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• 2007

The fixing behaviors of anthraquinone disperse dyes containing dimethylamino substituent, such as C. I. Disperse Violet 26(D.V.26) and C. I. Disperse Blue 14(D.V.14), or containing diamino substituent, such as C. I. Disperse Blue 73(D.B.73), and monochlorotriazinyl azo reactive dyes, such as C. I. Reactive Orange 13(R.O.13), C. I. Reactive Red 3(R.R.3). C. I. Reactive Yellow 2(R.Y.2) on polyester/cotton blend(P/C) fabrics were examined for the one-step printing of P/C fabrics. The high temperature steaming of $175^{\circ}C$ is the most satisfactory fixing method for P/C one-step printing with above disperse and reactive dyes among the four different fixing methods: $175^{\circ}C$ steaming, $102^{\circ}C$ steaming${\rightarrow}175^{\circ}C$ steaming, $190^{\circ}C$ thermosol, $102^{\circ}C$ steaming${\rightarrow}190^{\circ}C$ thermosol. $190^{\circ}C$ thermosol is unfit to fix R.R.3 and R.Y.2 whose heat stability is poor. It was found that D.V.26 and D.B.14 containing dimethylamino substituent are unstable for heat and alkali, but D.B.73 is stable for them to print P/C blend fabrics with R.O.13 which is also stable for heat. Therefore we found that D.B.73, R.O.13 and a pair of D.B.73 and R.O.13 were very suitable for one-step printing of P/C blend fabrics.

• 한국의류학회지
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• 제42권4호
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• pp.689-707
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• 2018

This study reviewed the differences among Onggis made in Jeju and other areas, developed creative textile designs and cultural products, and conducted the consumer evaluation of developed products. First, the 1,063 photos of Onggis made before the first part of the 20th century were collected and the unique differences of Jeju Onggis were confirmed through the observation of collected photos. Second, based on the uniqueness of Jeju Onggis, the eight pieces of Jeju Onggis were selected from the photos and used as pattern design motifs. Nine basic patterns were drawn and ten textile designs were created using the basic patterns. Third, the 16 pieces of textile products were made with cotton fabrics on which the textile designs were printed. Four mugs and four tumblers with printed patterns were also made. Finally, 64 students evaluated the developed products using a 7-point scale. As a result, folksy atmosphere, uniqueness, usage as a Jeju souvenir and at local restaurants, and the role of fostering concern for Jeju Onggi were highly evaluated but aesthetics was rated relatively low. Most of the developed products were highly preferred and recommended as Jeju souvenirs or for local restaurants.

• 한국지역사회생활과학회지
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• 제23권3호
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• pp.317-328
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• 2012

In this study, printing was introduced to the common dip-dyeing method of persimmon juice dyeing so as to develop two different colored persimmon juice dyed fabrics with printings of 'jorangmal' patterns (a national monument) instead of producing a plain textile. Following are the results of a comparative study between the persimmon dyed fabric and undyed fabric, both with printings, in terms of its properties, and hand values. Cotton and rayon were chosen as samples and were compared separately. Firstly, the samples showed differences in terms of clarity and visual sensation depending on the presence of persimmon dye, even if the same pattern and color was used. Secondly, the air permeability of two samples improved after persimmon dyeing even though their thickness increased, and their moisture regain increased as well in all humidity conditions. Thirdly, protectiveness against UV increased in dyed samples, and sweat, sunlight, and compound colorfastness improved in printed dye-fabrics compared to plain dyed ones. Therefore, printing proved to be effective in preventing discoloration. Fourthly, tensile linearity and resilience, bending rigidity, compressive linearity and resilience, and shearing stiffness increased more in the dyed samples compared to undyed ones. However, shearing recovery decreased in both dyed fabrics. Fifthly, the result of its hand value showed that Koshi value increased in all samples than undyed ones, whereas Fukurami, Numeri, and Softosa values decreased. Incorporating printing in persimmon dyeing process could expect creative outcomes not only in today's diverse fashion but in areas of arts or crafts as well.

• 한국의류산업학회지
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• 제14권2호
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• pp.211-221
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• 2012

The word 'chintz' is thought to be a corruption of spotted cloth. Printing remained a relatively primitive method of decorating textiles in Europe until the second half of the 17th century. The formation of the English East India Company sparked the influx into the West of painted and printed Indian cotton textiles. A William Sherwin took out the first English patent in 1676. The earlist European designs were florals in the Indian manner. Patterns of European flowers returned to England as birds, flowers, trees, vines and stained glass for Victorian chintz. In France, the original and most successsful manufacturer of the distinctive printed fabrics from Jouy was Christophe Philippe Oberkampf. Copperplate printing was introduced to Jouy in 1770, probably reaching the pinnacle of achievement in the craft after 1783 when Jean-Baptiste Huet became chief designer. Huet's style was widely imitated in France and abroad, and the term 'toile de Jouy' has come to be universally applied to monochrome figurative designs wherever and by whomsoever they were produced. Oberkampf served his apprenticeship as an engraver with some leading manufacturers, including a period in Mulhouse. In Alsace, which was not part of France until 1798, the first factory had opened in 1746 in Mulhouse, and the area soon had the largest number of print-works in France.

• 한국염색가공학회지
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• 제11권1호
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• pp.16-24
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• 1999

The effects of two-step fixation of steaming and baking on the dischargeability of cotton fabrics dyed with C.I. Reactive Black 5(Bl-5) were investigated when the concentrations of $K_2CO_3$ and benzaldehyde sodium bisulfite(BASB) were increased over 120/kg. Remarkably increased dischargeability resulted from baking for 3 min or more at 160t after steaming for 8 min or more at $102^\circ{C}$, but 120g/kg or more amounts of $K_2CO_3$ and BASB(50%) had little influence on dischargeability. Therefore the discharge mechanism can be suggested that covalent bonds between cellulose and Bl-5 undergo $S_N2$ attack by hydroxide ion formed by the reaction of $K_2CO_3$ and water in steaming at $102^\circ{C}$ first and then, through transition states they are cleavaged in baking at 160t to yield hydrolyzed Bl-S and compounds of BASB and Bl-5 isolated from fiber, which are undyeable and removed by washing. The effect of urea, one of the hydrotrope agents, on discharge printing was also studied. The result which dischargeability was greatly improved by increasing the steaming time from 8 min to 15 min at $102^\circ{C}$ or by increasing the amount of urea obviously shows that water in steaming and urea in print paste play an important role in discharge printing. And as an increase of the baking time from 5 min to 7 min at $160^\circ{C}$ makes it possible to improve dischargeability, it is once more confirmed that high temperature of about 160t is exactly required to discharge the dyed Bl-5. The colored discharge printing demands a more amount of urea because urea contributes to the putting color fixation as well as the discharge reaction.

• 한국의류산업학회지
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• 제15권5호
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.