• 한국의상디자인학회지
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• 제4권3호
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• pp.9-15
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• 2002

Compared with synthetic dyes, natural dyes have inferior colorfastness as a result of the exposure of the material to any environment that may be encountered during the processing, testing, storage, display or use of the dyed materials. Especially, colors on fabrics fade excessively after washing. Therefore, it is problem to infer the historic textiles with natural-dyed fabrics. The object of this study is to analyse the factors affected to colorfastness and color change during washing. In experimental, fifteen natural dyes were dyed by the Korean traditional dyeing methods onto natural fiber fabrics: cotton, silk, ramie, and flex. Total 49 dyed fabrics in combination with dyes and fibers were used for the specimen. The Launder-Ometer was used for evaluating the effects of exposure to repetitive washing from 1 to 20 washing cycles (KS K 0430). Color difference(ΔE) in the CIEL＊A＊B＊ color-order system were determined by spectrophotometer at 100 bserver. Washing caused significant changes in the color of natural-dyed fabrics. The degree and nature of color changes on the fabrics were dependent on the combination of fiber and the dye type used. The groups of violet(Lithospermum erythrorhizon Sieb.et Zucc) and black color(Ailanthus altissima Swingle, Phus trichocarpa Miq) yielded excellent colorfastness to repetitive washing. The group of indigo blue color(Polygonum tinctorium Lour.) was also very resistant to color change in washing except silk. Whereas the dye groups of Red, Yellow, Orange, Brown colors indicated greatest changes in color, particularly Carthamus tinctorius L.

• 한국의류학회지
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• 제19권1호
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• pp.71-79
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• 1995

Journal of the Korean Society of Clothing and Textiles Vol. 19, No. 1 (199i) p. 71~79 The authors study on the traditional textile production and the formal dress through the field research concerning the folk attitude toward dress style around the Mt. Kumo area. In this area, people produced and wove hemp, cotton, and silk except ramie. Because of poor production of raw materials, they produced textiles only for self-sufficiency. Every household dealt with dyeing on a small scale. In the past, people dyed cloth natually using plants as material. Natural dyeing, however, gradually changed into chemical one since the Japanese rule. The formal dresses, which people wore on particular occasions such as the hundredth day after child's brith, the first birthday, and traditional holidays, were very meager due to poor living standards. People could not see the formal dresses with full decoration. Bride and bridegroom were the village.owned wedding dresses, and if they could not afford to, they simply put cloth on to remember the occasion. People around the Mt. Kumo area, however, provided fully-decorated shroud and ritual robes to the level of other better-off areas. It seemed to be the result of influence of deep-rooted Confucianism in Gyungbuk province. This Phenomenon could be found in the folk dress style in other regions as well as the Mt. Kumo area in Gyungbuk province.

• 복식
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• 제63권1호
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• pp.147-160
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• 2013

Korean fashion designs became important items in Korea in the middle of the 1980s, and it has advanced into the world market in the early part of the 1990s. To achieve success in global fashion world, it is necessary to analyze Korean fashion design thoroughly and prepare strategies to develop designs with mainstream acceptance in the global fashion world. The purpose of this study is to analyze the aesthetic characteristics and Korean beauties of Korean fashion designs. Fashion photos of Korean fashion designs from 2006 S/S to 2012 F/W were analyzed. 357 designs from 608 designs of 4 representative Korean designers were examined and design characteristics, expression styles were studied. The major conclusions of the study are as follows : 1. H Line, slim, fitted silhouette and loose look were applied. 2. 5 major traditional colors, red, blue, yellow, white and black colors were used. Brown color, neutral color, golden color and beige color of the textile material's original color were used. Traditional textile materials like ramie fabric, satin and cotton, wool and metallic fabric were used. 3. Patterns of flower, traditional pattern and Korean letters were applied. Embroidery, patchwork and mother-of-pearl were decorated. 4. The three types of beauty were natural beauty, moderate beauty and decorative beauty. The types that were analyzed were realistic expression type, moderate expression type, image expression type and mixed expression type. To be accepted in global fashion world, Korean traditional design elements should be modified, broken down and reorganized so that Korean fashion design can be recreated.

• 한국의류산업학회지
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• 제9권1호
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• 보존과학회지
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• 제28권4호
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• pp.321-328
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• 2012

본 연구에서는 전통직물 4종(견, 면, 모시, 삼베)을 선정하고, 각 직물의 원직물을 포함한 염색별 5종으로 구분하여 이산화황 가스($SO_2$) 농도에 따른 손상특성을 살펴보기 위해 가스 열화실험을 실시하였으며 각 농도와 손상특성간의 정량적인 상관성을 규명하고자 하였다. 이를 위해 전통직물 시편을 대상으로 가스부식시험기를 이용하여 $SO_2$ 0.01, 0.12, 1, 10, 100, 1000, 5000ppm의 농도로 24시간 노출 실험을 하였으며 노출 전 후의 광학적, 물리적, 화학적 손상도를 평가하였다. 이 결과, 가스 농도의 증가에 따른 전통직물의 색차 증가와 변퇴색 등급 저하 등 광학적 변화를 확인한 반면 물리적 변화는 뚜렷하지 않음을 알 수 있었다. 또한 가스 농도증가에 따른 직물시편 내 잔류 황산이온 농도의 증가 및 pH 감소에 의한 직물 재질의 산성화를 통해 화학적 손상을 확인하였다. 이 같은 손상도 변화를 종합한 결과 이산화황 가스에 의한 전통직물의 손상농도는 1ppm/day임을 도출하였다.

• 보존과학회지
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• 제25권3호
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• pp.283-291
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• 2009

현재까지 문화재 훈증제로서 사용되어왔던 브롬화메틸(Methyl Bromide, 이하 M.B)은 온실 가스로 지구 오존층 파괴의 원인물질로 판명되어, 1987년 몬트리올 의정서에 의해 선진국에서는 2005년부터 사용이 금지되었다. 또한, 2007년 발리 협약에 의해 우리나라도 점진적으로 사용 규제가 예상되므로, 본 실험에서는 Methyl Bromide를 대체할 Ethylene Oxide + HFC 134a, Methyl Iodide, Cyanogen, Argon 훈증법이 금속(은, 구리, 철), 목재(미송), 안료(황, 장단, 양청, 백분, 먹), 섬유(삼베, 모시, 황마, 도침 비단, 비도침 비단 / 쪽, 황벽, 홍화 염색), 지류(닥지 4종, 중성지 1종) 시편 재질에 미치는 안정성 평가를 실시하였다. 훈증 실험 결과, Ethylene Oxide + HFC 134a가 훈증 전, 후 실험 시편의 중량, 색도 변화 등에 가장 영향이 없었다. 표면변화는 지류와 금속시편에서 부분적으로 변색이 발생하였다. 색도변화는 대부분의 시편에서 0.5에서 1.5내외의 근소한 색차를 나타내었다. Methyl Iodide는 훈증 전, 후 중량변화가 거의 없는 것으로 나타났다. 색도변화는 대부분의 실험시편에서 1.0 이상의 색차를 나타내었다. 특히, 염색된 대부분의 섬유시편에서 비교적 큰 색도변화가 나타났다. 표면변화는 양청안료시편에서 육안으로 관찰 가능한 변색이 관찰되었다. Cyanogen은 훈증 전, 후 실험 시편의 중량변화에 큰 영향이 없는 것으로 나타났다. 색도변화는 전반적으로 실험시편에서 1.5이상 정도의 색차를 보였다. 특히, 섬유시편의 변색에 큰 영향을 주는 것으로 나타났다. Argon으로 훈증한 실험시편은 중량변화가 3~6% 내외로 감소한 것으로 나타났다. 표면변화는 지류시편에서 부분적으로 변색이 발생한 것을 관찰할 수 있었다. 색도변화는 2주 훈증 조건에서 홍화와 황벽으로 염색한 황마시편이 6.3, 6.0의 현저한 색차를 나타냈다.